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What a wonderful drawing. I would have loved it if you had jotted down the comments you made about being a child in Kosovo and your grandfather watching you get to school. That's a huge part of your idea. You still might want to do that, just to have a record of the genesis of the idea.

And I am quite serious that this looks like a page in a children's story. I think you should find a writer to help you craft your story. And you would need to produce perhaps another 8 images that would go with that story. It would be a wonderful thing. Here's a website you might look at, just an example of the mechanics of developing a children's picture book. https://taralazar.com/2009/02/22/picture-book-construction-know-your-layout/

If you want to talk about this further with me, please do.

EC 15 Dec

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Dhurata, focus on a theme, a motif, a person, place, thing or event in your lifetime that has had a meaningful effect on you. Then imagine how one or some of these artists might have approached the theme.

Now figure out how you, using your personal style, would connect to that artist in some way.

We can always talk.

EC 15 Nov

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This will work. I think you need, perhaps, to start by crafting a short definition of "Romanticism" that not only applies to all these artists but applies to you, too. Then find your motif, your theme, your subject. It may be a specific even that influenced you profoundly. It may be some kind of modern allegory, an imagining of something awe-inspiring or devastating that seems to be embedded in our world.

I think if you have that definition and then start playing around with subject matter you'll be there.

EC

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I'm very interested in the romanticism for its emotional value. I want to attempt to add a modern flare to the painterly and mythical style of Romanticism.

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"Turner’s ambition was to confirm the status of landscape as a serious art form, in the wake of Richard Wilson, and he always perceived his position as being in direct line from the 17th-century classicists Poussin and, especially, Claude. His later exploration of effects of light in the pursuit of new demonstrations of sublimity has led to his purposes being confounded with those of the Impressionists; but in reality he remained true to earlier conceptions of great art, as formulated by such theorists as Jonathan Richardson and, above all, Joshua Reynolds, never attempting spontaneity or informality on the scale of exhibition pieces as did his contemporary John Constable. The large body of his sketches and studies in oil and watercolour, however, which, after wrangles over his will, was given to the British nation in 1856, testifies to the wide variety of his responses to the world and to the processes of picture-making. His finished work is characterized by a theatrical grandeur and a straining after effect that are offset by an encyclopedic understanding of natural phenomena and a pervasive fascination with human life in all its manifestations."

Andrew Wilton. "Turner, J. M. W.." Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 9, 2016, http://www.oxfordartonline.com/subscriber/article/grove/art/T086656.

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"...is of considerable importance in that it was painted at a period notably unsympathetic to the production of religious paintings. It is a night scene, set in the interior of a cave, and demonstrates an early strain of Romanticism in Girodet’s art. He had a lasting interest in sepulchral subjects, which permitted melancholy introspection.."
Stephanie Nevison Brown. "Girodet, Anne-Louis." Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 9, 2016,http://www.oxfordartonline.com/subscriber/article/grove/art/T032603.

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"Delacroix disliked the 19th century, hated progress, was conservative in his tastes and manners, but—for Baudelaire, at least—was the most modern of artists, resembling the great painters of the First Republic (1792–1804) and the First Empire (1804–14) in his wish to rival the written word. His subjects, like those of David, were serious and historical, but he replaced the Stoic ideal with one equally grand and dramatic, yet lacking any kind of moral or political certainty. Nevertheless, he was the last representative of the GRAND MANNER. He lived long past the years of the Romantic movement, although a Romantic interest in suffering, insanity, death and violence is always present in his art, which is essentially literary and personal...."

Colin Harrison. "Delacroix, Eugène." Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 9, 2016, http://www.oxfordartonline.com/subscriber/article/grove/art/T021888.

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"Romanticism was rejected or ignored by most of the major artists later seen as associated with it, but it nevertheless identified several key tendencies of the period. Though hard to define precisely, it essentially involves: 1) placing emotion and intuition before (or at least on an equal footing with) reason; 2) a belief that there are crucial areas of experience neglected by the rational mind; and 3) a belief in the general importance of the individual, the personal and the subjective. In fact it embodies a critique of that faith in progress and rationality that had characterized the main trend of Western thought and action since the Renaissance. This resulted in an opposition to the dominant contemporary values and social structures. Romanticism started as a literary movement but soon came to include the visual arts, particularly painting, the most notable exponents being Blake, Delacroix, Friedrich, Gericault, Goya, Philipp Otto Runge and Turner. To a lesser extent it also affected the graphic arts, sculpture and architecture. By the 1840s it was being superseded by Realism, though many of its ideas persisted throughout the 19th century and into the 20th....."

William Vaughan. "Romanticism." Grove Art Online. Oxford Art Online. Oxford University Press, accessed October 9, 2016, http://www.oxfordartonline.com/subscriber/article/grove/art/T073207.