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Noëlla Roos (born 27 January 1969, Amsterdam) is a Dutch painter. Try to place the drawings and paintings of Noëlla Roos in a contemporary context, and you will be disappointed. The studious, energetic drawings of dancing figures and the exotic, theatrically flavoured paintings seem to be unrelated to our daily surroundings. Although Noëlla’s search for universal emotions is in principle timeless, even the contemporary, baseball cap wearing boy evokes a nostalgic feeling and seems rather to have stepped out of the 19th century. Born into a family of artists, her talent was nourished and stimulated from early childhood. In this artistic environment Noella was given every chance to fully develop her visual qualities. As a result her paintings and drawings betray a classical and technical basis that is seldom seen in the current generation of artists. At the Dutch art academies, after all, personal development is strongly placed before mastery of technique. Noëlla Roos chose her own path, averse to the ongoing ‘trend’. She looks for inspiration in the rich tradition of artists such as Rembrandt, Michelangelo and Käthe Kollwitz. The oeuvre of Noëlla Roos can be divided into paintings and drawings. Certainly in her earlier work the subjects determine the choice of technique. The dancing figures are drawn in transitory and agile strokes. The movement becomes visible in an abundance of searching, wispy lines. In contrast, the portraits painted in tonal colours emanate a thoughtful and still feeling. A face with an introverted look emerges ghostlike from an undefined background, out of the raw material. In her later work these two worlds fuse. Line and paint will more and more become as one. ==Drawings== In some of the earlier drawings of Noëlla Roos the models are not yet depicted as dynamically as in her later work. Originally the model was fixated in one pose. The drawings are more static, they are almost sculptured works. After the example of Dodeigne she taped her fingers. In this way the work could be blurred in some parts, which attributed to the massive, monumental character of the drawing. The model emerges from the dark streaks as a kind of sculptural landscape. Her fascination for moving figures gradually led to the development of a technique in which she could convincingly capture the movement. As she mastered this technique, the static model studies of Noëlla Roos were slowly replaced by drawings of dancing figures. Her interest is focused on the muscle movement and the light that falls on the moving body. She continues drawing a dancing model until she can fully fathom the movement of the model. That is why she prefers to work with only one dancer for a long period. In the end she and the model are as one person. At the same time drawing and moving she follows the rhythm of the dance. Then, it is no longer a matter of hard work; thinking and doing have merged. When drawing a moving model she tries to capture the movement as soon as possible in the arabesque, in other words the ‘kinetic curve’. Most of the time, this is the imaginary line that runs through the middle of the dancer, the line that would lift the figure by the head as if it were a doll. This line is the basis of all her drawings, but also of her paintings in oil. Already at an early stage this line determines the composition of the final image. The dance movement is reduced to an uncomplicated basic form, such as a circle or a cross. Through this abstraction the drawing gets a three-dimensional effect. Noëlla Roos looks for the connections, for example between hand and head. She draws these lines literally in her work, and often they are still visible in the drawing. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Noella Roos」の詳細全文を読む スポンサード リンク
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