Some quotes from publications
Wim van den Beek (Kunstbeeld). Striking effects of the “method” applied by Johann van den Noort are magnetic action and substitution of color. Because of the dynamic, poignant and compelling way of painting, the viewer is drawn towards the canvas and the closer he gets to the painting, the stronger the experience is to be included and to be a part of it. Everything is possible and credible in terms of color. This way the sea can even be captured in earthy colors. The atmosphere of capricious soil layers and turbulent sea appear to be able to come together on waves of imagination. As a result, the overpowering, emotional experience, which only works when painting has become a way of life in which extremes are aligned. Exuberance of swirling water and exotic underwater vegetation and stillness caused by life at sea meet. Emotion is directly translated into tension, effort, rest resignation or dynamics. Johann van den Noort has found a visual language that does justice to his passion.
Sike Doele (Leeuwarder Courant). Van den Noort sees the sea primarily as an unpredictable element, as a force that people can not cope with for a long time, as something that is never the same and always takes on other forms. He tries to give form to that essence in his paintings. The violence and the swirling streams of the sea he translates into explosions of paint, in bright broad brushstrokes, splashes and drips. Despite the fact that he has the sea as the subject, he does not allow himself to be limited in color and form. You could interpret a bursting wave just like a big bang from which the universe originated. He uses red, brown and yellow without any hesitation. the paintings initially also do abstract. Only when you read that they represent the sea do you see it in it. Van den Noort leaves the spectator all freedom and that is his strength.
Feike Boschma (Frisian newspaper). The color red is not the first color that is thought at the word sea. Yet Van den Noort paints the sea in bright red in “Rising Sea”. Is this an example of intensity? Has the bright red sea rising in the sea become itself here? Is the heat of the sun as intense as the threat of a storm? The “Dogger Bank” canvas also dominates red. Neither in the performance nor in the title there is any reference to the sun. Here is the fulminating red (again) for intensity: one and all splattering forms. What a dynamic.
Bert Honders (Kunstwerk Journaal) His palette consists of glowing oranges, deep reds and a beautiful blue, a hard earthy green and brown. He works in broad expressionist jobs on often enormous canvases. When you stand in front of the painting feel the emotion, as it were, wash over you.
Godert van Colmjon (Amersfoortse Courant). Johann van den Noort is a painter who is obviously aware of the limitations of personal expressiveness. Hence probably his attempts to objectify and to generalize the expressions in the context of a historical genre of the seascape or the maritime painting, the natural violence of the sea that fascinates Van den Noort immensely and to which he wants to express his paintings. He does that passionately and skillfully. The seemingly unbridled paint spills and color bursts have a clearly organized underflow, controlled movements and controlled color dosing.
Wim van der Beek (Zwolse Courant). The painter pur sang also manifests himself as a sculptor. He remains true to his theme, but gives it a different form. The attention has shifted from flamboyant seascapes to at least as vivid images of characteristic seabirds. Johann van den Noort evokes with his images the majestic and graceful bird, who as ruler oversees the sea. He has made the animal an extension of his personal unrest and hankering towards the sea.