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Anton Rooskens
As a painter, Anton Rooskens was a self-educated man. He was born in Griendsveen (Netherlands) in 1909. The influence of Van Gogh and Permeke prevailed, then artworks from the first school of Paris. In1945 he visited the exhibition « L'Art en liberté - Art and freedom - » in Amsterdam where he was confronted with african sculptures from New Guinea. This discovery influenced his work for all his career. His spontaneous and gestural painting with hallucinated forms and...
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Biography of Anton Rooskens
As a painter, Anton Rooskens was a self-educated man. He was born in Griendsveen (Netherlands) in 1909. The influence of Van Gogh and Permeke prevailed, then artworks from the first school of Paris. In1945 he visited the exhibition « L'Art en liberté - Art and freedom - » in Amsterdam where he was confronted with african sculptures from New Guinea. This discovery influenced his work for all his career. His spontaneous and gestural painting with hallucinated forms and violent colors, permeated with african rhythms, and intuitive surrealism of Miro and André Masson. In 1948, Rooskens was the co-founder of the Reflex group which merged with Cobra and Karel Appel, Eugene Brant and Corneille. In 1954, he traveled to Egypt and Africa and he was influenced by african art. After the fantastic Expressionism from Cobra years, Roosken developed a personal language : long lines and heavy black streaks cover a space between light and dark. At the end of the sixties Rooskens artwork became resolutely figurative. He was a teacher at Don Bosco School in Amsterdam. The artist was present in many solo and group exhibitions; a retrospective of his artwork was organized in 1976 at the Cultural Center in Venlo (Netherlands). Rooskens is represented at the Stedelijk Museum of Amsterdam and the Museum of Schiedman. The artist died in 1976 in Amsterdam.
Voir & découvrir
Beyond works currently in stock, it seemed to me useful to combine business with pleasure by letting you discover others works by artists in my gallery. These artworks, now sold or removed from our website, have been in our stock in the past. These pages will undoubtedly make it possible for some of you to associate an image with its title or the other way round, for others it will be a good time to discover more on such and such artist. For the sake of confidentiality – the pieces being no longer available – we won't display neither their numbering or their price. For whatever reason, make sure to visit this amazing art database with to date 6441 online works just for your pleasure! Michelle Champetier
The work presented on this page is not available anymore.
The child with...
1971 Original lithograph, titled, dated and signed in pencil by the artist. WithoutCatalogue(s) raisonné(s)
Catalogue(s) raisonné(s)
Not realised. All the "catalogues raisonnés"Bibliographic track & more
To read from or about the artist :
* « Anton Rooskens 1949 Cobra 1951 », catalogue d'exposition, Galerie Delta, Rotterdam, 1964* « Anton Rooskens - Ariel n°20 », catalogue d'exposition, Galerie Ariel, Paris, 1972
* « Anton Rooskens », Ed Wingen, Ed. Van Spijk, Venlo (Pays-Bas) , 1976
* « Cobra, 1948-1951 », Christian Dotremont, Jean-Michel Place Ed., Paris, 1980 (Réimpression en fac-similé de la collection complète des dix numéros de la revue Cobra et autres)
* « Cobra 1948-1951 », Sylvain Lecombre, Christian Besson et Gilles Béraud, Musée d'Art Moderne, Paris, 1982
* « Alechinsky - Appel - Baselitz - Corneille - Jorn - Kirkeby - Rooskens », catalogue d'exposition, Galleri Faurschou, Copenhage (Danemark), 1989
* « Cobra: ceramic work », Willemijn Stokvis, catalogue d'exposition, Museum Het Kruithuis, Hertogenbosch (Pays-Bas), 1993
* « Cobra - La conquête de la spontanéité », Willemijn Stokvis, Ed. Gallimard, Paris, 2001
* « Cobra », Anne Adriaens-Pannier, Michel Draguet, Ed. Hazan, Paris, 2008
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Artists on display
The art and the artists display: proclamations, galleries, museums, personal or collective exhibitions. On walls or in shop windows, wise or rebels, posters warn, argue, show. Some were specially conceived by an artist for such or such event, other, colder, have only the letter.
Some were created in lithographic technic, most are simple offset reproductions. They are many those who like collecting these rectangles of paper, monochrome or in games of colours, in matt paper or brilliant, with many words or almost dumb.
We are happy also to be able to greet, by this pages, mythical galleries as those of Denise René, Louis Carré, Claude Bernard, Berheim Jeune, Maeght, Pierre Loeb and others.
