After Cobra, Rooskens' work is melancholic and marked by dark colours. But midway of the 1960's he came out of this dark period. This phase is characterized by a rebirth that discussed Cobra again. Since 1964 Rooskens' development has been based on an enthusiastic rediscovery of the self-evident. Again Rooskens used the Cobra language for an art of painting declaring the experimental to be a style. With many variations he plays with the well-known Cobra motifs. He uses al kinds of animals, fishes and birds in a series of paintings and works on paper. The presence of the bird-motif is striking. It already occurred in his work in the Cobra period and was one of the most important Cobra motifs, also used by Appel and Corneille. In the 1960's and 1970's the bird became a magical symbol to Rooskens. Finally it became a dynamic sign of life. In this period the birds are motion itself. In contrast with his dark period after Cobra, his later work is full of gay colours and jolly subjects.
Ed Wingen, Anton Rooskens, Venlo 1976.