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". . . the artist is an outstanding draughtsman and painter
to whom much recognition and success are due."

- Walter Koschatzky
   Director of the Albertina

STANLEY ROSEMAN
You are also cordially invited to visit: www.stanleyroseman-monasticlife.com
Biography: Page 6
Continued
The artist and his model
Stanley Roseman and Father Xavier Szunyogh
in the Benedictine monk's room at the
Archabbey of Pannonhalma, Hungary, 1978.
Dom Bede, St. Augustine's Abbey
5. Dom Bede,
Portrait of a Benedictine Monk

1980, St. Augustine's Abbey, England
Chalks on paper, 35 x 50 cm
Victoria and Albert Museum,
London
     The portrait of Dom Bede, drawn in a combination of chalks, was a gift to the Victoria and Albert Museum from Roseman and Davis in memory of their friend who passed away in 1993. Dom Bede Millard was a skilled craftsman in church vestments and contributed the chapter on 'Ecclesiastical Textiles' for the museum's exhibition catalogue on the architect Augustus Pugin. The catalogue, published in 1994, is dedicated to Dom Bede.
     The museum's Curator Susan Lambert, writes in November 1994 with enthusiasm and appreciation to Davis, who had initiated the proposed gift:
    "I am writing to thank you for your gift of the drawing of Dom Bede by Stanley Roseman. We are very pleased to be able to represent his work in this Collection. The identity of the sitter, Dom Bede, gives the drawing a particular significance since Dom Bede collaborated in the recent Pugin exhibition. The drawing is also an excellent example of modern portraiture. In terms of its subject, medium, and intrinsic quality the drawing fits extremely well into the V&A's collecting policy and is a notable acquisition."
- Susan Lambert
  Senior Curator of Prints, Drawings, and Paintings
  Victoria and Albert Museum, London
4. Portrait of a Carthusian Monk
in Prayer
, 1984
St. Hugh's Charterhouse
Parkminster, England
Chalks on paper,  50 x 35 cm
Teylers Museum, The Netherlands
     Roseman's work at Parkminster includes the impressive Portrait of a Carthusian Monk in Prayer, 1984, (fig. 4).The portrait of Brother Augustine, an amiable, bearded Dutchman, is rendered in a combination of chalks on gray paper of the hooded hermit monk in prayer.
     Portrait of a Carthusian Monk in Prayer and an equally fine portrait of Brother Augustine, also from the Carthusian Order's ninth centenary year, are conserved in the Teyler Museum, the Netherlands. The museum, which houses a renowned collection of master drawings, acquired several Roseman portraits of monks, as well as other subjects from the artist's oeuvre, including the dance at the Paris Opéra.
Portraiture holds an important place in Roseman's oeuvre. In the artist's early career in New York City in the 1970's, his work on the performing arts, and his travels to Lappland, Roseman painted and drew portraits. The artist's work in Benedictine, Cistercian, Trappist and Carthusian monasteries throughout Europe includes depictions of monks and nuns in prayer, work, and study and an extensive series of portrait paintings and drawings.
     In a 1979 Sunday magazine cover story on the artist, Sweden's leading daily Aftonbladet, Stockholm, commends Roseman for creating portraits "artistically on a high level as well as accurately expressive of the human dimension.''
Drawing - the Foundation of the Visual Arts
12. Brother Stephen,
Portrait of a Trappist Monk
in Prayer
, 1983
Bolton Abbey, Ireland
Chalks on paper, 50 x 35 cm
Graphische Sammlung Albertina, Vienna
9. Brother Abraham, 1978
Tyniec Abbey, Poland
Chalks on paper, 48 x 33 cm
Ashmolean Museum, Oxford
     The portrait in chalks on gray paper has a sculptural quality in Roseman's rendering of the middle-aged monk's strong, Slavic facial features and high, broad forehead under his black skullcap. The sanguine chalk gives a ruddy complexion to the face of Brother Abraham, who worked at various jobs out-of-doors in following the monastic precept ora et labora, prayer and work. The chiaroscuro modeling of the chalks brings cool light and warm shading on the face of the Polish monk, who kindly gave of his time to the artist.
- Dr. Kenneth Garlick, Keeper of Western Art 
  Ashmolean Museum,
Oxford
     The Encyclopaedia of Oxford, edited by Oxford historian Christopher Hibbert, notes the Ashmolean Museum acquired the work of Stanley Roseman.[6]
     For the occasion of Dom Sylvester's 100th birthday on June 11, 1986, Roseman and Davis made a gift of a portrait drawing by the artist of the Abbot Emeritus to Douai Abbey. In letter of appreciation, Dom Geoffrey Scott, librarian and archivist, who was to be elected Abbot of Douai in 1998, writes "on behalf of Fr Sylvester, Fr Abbot and the Community:
    "We collected the drawing of Fr Sylvester yesterday afternoon and are delighted with it.
I'd not seen the drawing before and was struck by its power. It is very hard to thank you adequately for such a noble gift which will be a treasured possession of the community
through succeeding generations."

- Dom Geoffrey Scott, OSB
  Abbot of Douai (1998 - )
     At the tenth-century Benedictine Archabbey of Pannonhalma, in the Gyor-Sopron region of western Hungary, Roseman, in 1978, drew the elderly, ascetic scholar Father Xavier Szunyogh. Father Xavier befriended Roseman and Davis, who occupied the room next to his in the cloister. The artist recounts in his journal:
Father Xavier, Archabbey of Pannonhalma
    "Father Xavier's room was filled with books, the kind of room I appreciate being in. Father Xavier said he understood English as a written language but had had little practice in speaking English, so we spoke together in part through verbal communication and in part through the written word - that is, by jotting down on a notepad some of what we wanted to say to each other. . . . Father Xavier was a kind, gentle man whose company I very much enjoyed and who gave me the wonderful opportunity to draw him.''
     The Musées Royaux des Beaux-Arts de Belgique - Art Moderne, Brussels, conserves Roseman's deeply felt portrait Father Xavier, 1978, (fig. 2).
     Brilliant white highlights illuminate the elderly monk's lean visage and white hair and accentuate the collar on the distinctive Hungarian Benedictine habit. The reserved areas of gray paper impart a cool tonality to the skin tones complemented by warm shading on the monk's face. Roseman's vigorous modeling with chalks brings liveliness to the octogenarian's presence in the portrait, which poignantly reveals a sense of the man's younger, hardier years.
     The Royal Museum of Fine Arts, Belgium, acquired the portrait with a drawing of a young hermit monk Brother Paolo, whom Roseman drew at the Hermitage of Camaldoli, secluded in the Apennines in Italy.
     Dr. Henri Pauwels, Chief Curator of the Musées Royaux des Beaux-Arts de Belgique, Brussels, and Mrs. Phil Mertens, Chief Curator of Modern Art, write in a warm letter to Ronald Davis to acknowledge receipt of:
"the beautiful drawings by Stanley Roseman, Father Xavier
and The Young Hermit Paolo in Choir . . . .
"We are very pleased that they will have the opportunity to find their place in the collection
of drawings of the Modern Art Department.''

- Dr. Henri Pauwels, Chief Curator
  Musées Royaux des Beaux-Arts de Belgique

- Phil Mertens, Chief Curator of Modern Art
  Musées Royaux des Beaux-Arts de Belgique

2. Father Xavier, 1978
Archabbey of Pannonhalma, Hungary
Chalks on paper, 48 x 33 cm
Musées Royaux des Beaux-Arts
de Belgique - Art Moderne,
Brussels
    The Curators thoughtfully add in their cordial letter:
PORTRAITS from the MONASTIC WORLD
On the artist's drawing board, next to his box of chalks,
is the portrait Father Xavier, (reproduced below, fig. 2),
Musées Royaux des Beaux-Arts de Belgique -
Art Moderne, Brussels
     The preceding page on the monastic life presents the oil on canvas painting Dom Henry, Portrait of a Benedictine Monk, 1978, St. Augustine's Abbey, England, acquired by the Chief Curator of the Museums of France for the Musee des Beaux-Arts, Rouen; and the chalk drawing of a Trappist nun Sister Immaculata, 1984, St. Mary's Abbey, Glencairn, Ireland, in the collection of the Teylers Museum, The Netherlands.
Portrait of a Carthusian Monk in Prayer,
     St. Hugh's Charterhouse, Parkminster
Drawing by Stanley Roseman, "Portrait of a Carthusian Monk in Prayer,'' 1984, St. Hugh's Charterhouse, England, chalks on paper, Teylers Museum, The Netherlands. © Stanley Roseman.
     The Carthusian Order, which dates from 1084, provides for the solitary life of the hermit within the context of a monastic community. St. Hugh's Charterhouse, Parkminster, located in the countryside of West Sussex, is the only Carthusian monastery in the British Isles today. In the year marking the 900th anniversary of the founding of the Carthusian Order, Roseman and Davis received a cordial invitation from Prior Dom Bernard to return to Parkminster, where they had sojourned the year before.
Drawing by Stanley Roseman, "Dom Bede, Portrait of a Benedictine Monk," 1980, St. Augustine's Abbey, Kent, England, chalks on paper, Victoria and Albert Museum, London. © Stanley Roseman.
     Roseman began his work on the monastic life in 1978 at St. Augustine's Abbey, England, as recounted on the previous page. In 1980, Roseman and Davis returned to the monastery. The year marked the 1,500th anniversary of the birth of St. Benedict, whose Rule is the basis of Western monasticism. From Roseman's work at St. Augustine's Abbey on that fifteenth centenary year is Dom Bede, Portrait of a Benedictine Monk, (fig. 5). The portrait was acquired for the Victoria and Albert Museum, London, by Susan Lambert, Senior Curator of Prints, Drawings, and Paintings, who praises the work as "an excellent example of modern portraiture."
Father Ian, Portrait of a Trappist Monk in Meditation,
     Mount St. Bernard Abbey
     Mount St. Bernard Abbey, secluded in a part of Charnwood Forest in Leicestershire, was the first Trappist monastery where Roseman painted and drew at the outset of his work in 1978. Roseman writes:
    "The carpenter, a stocky, bearded monk named Ian, thoughtfully made his shop available to me and provided me with wood and tools with which to build stretchers for my canvases. Mentioning that my maternal grandfather had been a carpenter established an immediate rapport between Ian and me.''
3. Father Ian,
Portrait of a Trappist Monk in Meditation
, 1978
Mount St. Bernard Abbey, England
Oil on canvas, 50 x 70 cm
Musée Ingres, Montauban
     Father Ian, Portrait of a Trappist Monk in Meditation, (fig. 3), is conserved in the Musée Ingres, Montauban, whose collection originated with an important bequest by Jean-Auguste-Dominique Ingres (1780-1867) of his paintings and drawings, as well as works by Italian and French old masters, to his hometown. The Museum's collection has since been augmented with works of modern art.
"Father Ian is for me an absolutely captivating work of art."
- Pierre Barousse, Curator
  Musée Ingres
, Montauban
     Roseman painted the superb portrait of Ian in the carpentry shop after the monk had finished his day's work. The striking mise-en-page with descriptive charcoal lines setting the composition onto the canvas and calligraphic brushstrokes rendering form and space are complemented by chiaroscuro modeling of the monk's strong facial features with dark hair and beard. Head and shoulders are silhouetted against a summary background of warm earth tones. Highlights on the white tunic and collar add brilliant accents to the portrait.
     Roseman expresses serenity on the face of the Trappist monk, his right hand resting on his cheek and temple as he meditates at the end of his workday in anticipation of the monastery bell summoning the community to Vespers.
     In letter to Davis, who introduced his colleague's work to the Musée Ingres, the distinguished Curator writes:
Drawing by Stanley Roseman, "Brother Stephen, Portrait of a Trappist Monk in Prayer," 1983, Bolton Abbey, Ireland, chalks on paper, Albertina, Vienna. © Stanley Roseman
     At the opening of the Albertina exhibitions Raphael in der Albertina and Stanley Roseman - Zeichnungen aus Klöstern on the evening of September 6, 1983, the museum's director Dr. Walter Koschatzky gave a formal address welcoming the President of Austria, the Burgomaster of Vienna, and guests, including members of the 25th International Congress of Art Historians, who had convened in Vienna. The Director of the Albertina warmly introduced the work of Roseman and praised him as "a master draughtsman.''
     Roseman has devoted much of his professional life to drawing, considered the foundation of the visual arts. Giorgio Vasari, the sixteenth-century Florentine architect, painter, and author, states in the preface to his famous series of biographies Lives of the Artists that drawing (disegno) is ''the parent of our three arts, Architecture, Sculpture, and Painting, having its origin in the intellect.''[1]
     The Szépművészeti Múzeum (Museum of Fine Arts), Budapest, which houses a renowned collection of master drawings acquired the impressive portrait Brother Péter Márton, (fig. 6), and an equally fine portrait of the Benedictine monk.
     "Brother Péter Márton was the first monk I drew at Pannonhalma," recounts Roseman. "I am grateful to him for providing me with the opportunity to begin my work in the monastery, more so as the kindly monk had the name of St. Martin of Tours, early monastic leader born in Pannonia c.316. Brother Péter Márton, a man in his senior years, encouraged me in my work on the monastic life, which established a rapport between us. I drew him in his room on two occasions and was very appreciative of the time he gave me.
      A strong, northern light illuminates the face of the ascetic monk who is depicted here absorbed in thought. The artist's chiaroscuro modeling and fine gradations of light and shade, or sfumato, in rendering the Benedictine monk's facial features are complemented by linear description and transparent, warm tones in the drawing. The monk's high, black collar and the dark background that closely follow the contours of the face and forehead set the portrait in pictorial space. Roseman has created an intimate portrait of Brother Péter Márton, who is following an ascetic, contemplative life inspired by the Saint born in the region of Pannonia.
     In correspondence in 1987 to Davis to thank him for offering a gift of Roseman's work, Dr. Ferenc Merényi, Director of the Szépművészeti Múzeum, writes: "We would be very pleased to have two drawings from Pannonhalma by Stanley Roseman, the ones representing Brother Péter Márton."
     In letter acknowledging receipt of the drawings, the Deputy Director Dr. Miklós Szabó, art historian, archaeologist of Celtic and classical Greek antiquity, and university professor, writes to express the Museum's gratitude for "the two beautiful portraits."
6. Brother Péter Márton, 1978
Archabbey of Pannonhalma, Hungary
Chalks on paper,  48 x 33 cm
Szépművészeti Múzeum, Budapest
Brother Péter Márton, Archabbey of Pannonhalma
Drawing by Stanley Roseman, "Portrait of the Abbot of Sion," 1984, Sion Abbey, the Netherlands, chalks on paper, Israel Museum, Jerusalem. © Stanley Roseman
Portrait of the Abbot of Sion, Trappist Abbey of Sion
     Abbot Adolfus van der Zeijden invited Roseman and Davis in 1984 to Sion Abbey in Diepenveen, located in the eastern province of Overijssel in the Netherlands. Greatly encouraging to the artist, the Abbot told Roseman that his work brings an awareness of contemplative life in the modern age and fosters understanding and ecumenicism between people of the Jewish and Christian faiths.
7. Portrait of the Abbot of Sion,
1984, Sion Abbey
The Netherlands
Chalks on paper, 50 x 35 cm
The Israel Museum, Jerusalem
     In recounting his sojourn at Sion Abbey, Roseman writes: "I asked the Abbot if I may include a portrait of him in my work on the monastic life. Abbot Adolfus told me that he was also the librarian and kindly invited me to join him at his desk in the library, where he worked and studied as well as where he did his spiritual reading.
    "The library was a modest-sized room filled to capacity with books. I was pleased to be drawing there, for with my love of books, I often sought monastery libraries in which to draw as well as for reading and study."
     Seated by the Abbot's desk at a window, Roseman drew the Abbot of Sion in profile, head inclined and eyes lowered as he concentrated on his spiritual reading. Chalks of earth pigments imbue the drawing with a warm tonality. Accents of black chalk delineate the fringe of hair complemented by white highlights on the monk's face and cranium. Roseman has drawn a moving portrait of a man dedicated to a life of contemplation and prayer.
     The Israel Museum, Jerusalem, acquired in 1986 Portrait of the Abbot of Sion, (fig. 7). The Curator of Prints and Drawings Meira Perry-Lehmann warmly writes:
"I am very pleased to let you know that the drawing by Stanley Roseman
has arrived safely and is now in our department.
It is indeed a fine work and a welcome addition to our collection."

- Meira Perry-Lehmann
  Curator of Prints and Drawings
  The Israel Museum, Jerusalem
Brother Stephen, Portrait of a Trappist Monk in Prayer, Bolton Abbey
     Although drawings have served as studies or drafts in preparation for compositions to be realized in another medium, drawings can be works complete unto themselves. The artist's signature on a drawing, as well as the date or an inscription as to the identity of the sitter or place, confirm the artist's intention in creating an autonomous work.[2] Complementary to his paintings, sculptures, and engravings, Roseman's drawings are autonomous works, which encompass a range of subjects, including portraits.
     The artist drew Brother Stephen in choir at Bolton Abbey, County Kildare, during the artist's return to monasteries in Ireland in January of 1983. The drawing exemplifies Roseman's virtuosity in the use of the medium of chalk for portraiture. Bold contours and sculptural modeling of the masculine, facial features with white highlights and warm shading are in dramatic contrast to the young man's black mustache and beard. In this superb portrait of a Trappist monk in prayer, Roseman has created a drawing of great spiritual intensity.
     The Trappist Abbey of St. Sixtus, in Flanders, was the first monastery on the Continent where Roseman drew. Returning to St. Sixtus over the years, the artist resumed drawing the monks at prayer, work, study, and at meals in the refectory. Roseman's portraits of members of the community include Brother Jos, 1981, (fig. 8).
     The captivating portrait of Brother Jos, the gardener, has a Rubenesque quality in Roseman's painterly use of the chalks on ochre paper, giving the composition a warm tonality. Red chalk brings vibrancy to the monk's fair complexion; passages of black chalk finely texture his wispy beard. White chalk adds luminous highlights on the face of the young, Flemish monk who wears a brown hat and turns to look directly out at the viewer.
     Brother Jos was acquired in 1985 by the Chief Curator of the Museums of France, François Bergot, for the Musée des Beaux Arts, Rouen, of which he was the Director. The drawing entered the renowned Rouen Museum with a drawing that depicts a bespectacled, middle-aged, English Benedictine monk Father Gregory at tea at St. Augustine's Abbey in 1980. In a cordial letter to Davis, who introduced his colleague's work to the museum, the Chief Curator of the Museums of France praises the
"two very beautiful drawings by Stanley Roseman."
- François Bergot
  Chief Curator of the Museums of France
  Director, Musée des Beaux-Arts
, Rouen
8. Brother Jos, 1981
St. Sixtus Abbey, Belgium
Chalks on paper, 50 x 35 cm
Musée des Beaux-Arts, Rouen
Brother Jos, St. Sixtus Abbey
     Roseman was invited in 1984 to the Benedictine Abbey of Douai, in Upper Woolhampton, Reading, where he drew Abbot Emeritus Dom Sylvester Mooney, (fig. 10, below). Dom Sylvester, one of the most revered churchmen in Great Britain, was Abbot of Douai for forty years, until his retirement in 1969. When Roseman drew Dom Sylvester, he was ninety-eight years old and the oldest living monk in the Western Church.
10. Dom Sylvester Mooney,
Abbot Emeritus
 
1984, Douai Abbey, England
Chalks on paper, 50 x 35 cm
British Museum, London
     Although Dom Sylvester was advanced in years, the erudite abbot was lucid of mind and a vital presence in the Community. He participated in the Divine Office in choir and took his meals with the monks. In a gracious gesture, the Abbot Emeritus honored Roseman by seating the artist next to him at his table in the refectory.
     Dom Sylvester invited Roseman to draw him in his room, and over a number of memorable days, the artist drew several excellent portraits of the Abbot Emeritus.
     In the present work, drawn with a combination of chalks on gray paper, the artist renders the face of the elderly abbot with white highlights and warm shading. Several strokes of black chalk define the monk's black scapula with hood lowered. Roseman's superb portrait has an immediacy of lively expression as Dom Sylvester looks directly out at the viewer.
     The British Museum acquired in 1996 Roseman drawings on the monastic life and the dance. The Deputy Director Jean Rankine writes in her cordial letter to the artist: ''At their last meeting the Trustees of the British Museum had before them a report of your gift to the Department of Prints and Drawings of three drawings by yourself: Mother Mary Imelda, Abbess of Glencairn, Ireland (1978); Dom Sylvester Mooney, Abbot Emeritus, Douai Abbey, Reading (1984); and Kader Belarbi, Ballet de l'Opéra de Paris, 'Petrouchka' (1994).
''I am directed by the Trustees to convey to you this expression of
their best thanks for these most welcome additions to their collections.''

- Jean Rankine, Deputy Director
  British Museum
, London
Drawing by Stanley Roseman, "Dom Sylvester Mooney, Abbot Emeritus," 1984, Douai Abbey, England, chalks on paper, British Museum, London. © Stanley Roseman.
Brother Abraham, Tyniec Abbey
Dom Sylvester Mooney, Abbot Emeritus, Douai Abbey
     The Benedictine Abbey of Tyniec, founded in the eleventh century, is located along the River Vistula and some twelve kilometers from Krakow. In November 1978 Prior Dominic Michalowski warmly welcomed Roseman and Davis and thanked them for having made the journey to Poland to include the monks of Tyniec in the artist's work. Roseman created impressive drawings as exemplified by the portrait Brother Abraham, (fig. 9).
     In letter of November 1989 to Davis, Carel van Tuyll, Curator of the Teyler Museum,  praises "the splendid portraits of monks" and concludes: ". . . it is a cause of profound gratitude on our part to be able to show such an excellent group of Mr. Roseman's drawings.''
     Roseman recalls, "I drew Brother Augustine in choir, and I also drew him in his hermitage, where he kindly invited me for a walk in the beautiful, trellised garden he had designed, built, and cultivated - a meditative, outdoor space in the confines of his hermitage.''
     Oxford University's Ashmolean Museum, housing a celebrated collection of master drawings, conserves the present work. Dr. Kenneth Garlick, Keeper of the Department of Western Art, acquired the portrait in 1979 and made a second acquisition in 1982 with "the fine drawing of the Carthusian monk asleep in his cell by Stanley Roseman."
     In cordial correspondence with Davis, the Keeper also wrote in appreciation for the acquisition of "a fine drawing of Brother Abraham."
     The Graphische Sammlung Albertina conserves four portrait drawings by Roseman, including the present work Brother Stephen, Portrait of a Trappist Monk in Prayer, (fig. 12).
Drawing by Stanley Roseman, "Brother Péter Márton," 1978, Archabbey of Pannonhalma, Hungary, chalks on paper, Szépmuvészeti Múzeum (Museum of Fine Arts), Budapest. © Stanley Roseman.
Stanley Roseman and Father Xavier Szunyogh in the Benedictine monk's room at the Archabbey of Pannonhalma, Hungary, 1978. © Photo Ronald Davis
Drawing by Stanley Roseman, "Father Xavier," Archabbey of Pannonhalma, Hungary, 1978, chalks on paper, Musees Royaux des Beaux-Arts de Belgique - Art Moderne, Brussels. © Stanley Roseman.
Painting by Stanley Roseman, "Father Ian, Portrait of a Trappist Monk in Meditation," 1978, Mount St. Bernard Abbey, England, oil on canvas, Musée Ingres, Montauban. Copyright © Stanley Roseman.
Drawing by Stanley Roseman, "Brother Jos," 1981, St. Sixtus Abbey, Belgium, chalks on paper, Musee des Beaux-Arts, Rouen. © Stanley Roseman.
Drawing by Stanley Roseman, "Brother Abraham," 1978, Tyniec Abbey, Poland, chalks on paper, Ashmolean Museum, Oxford. © Stanley Roseman.
1. Giorgio Vasari , Vasari on Technique (New York: Dover Publications, Inc., 1960), p. 205.
2. Peter Schatborn, Rembrandt: the Master& his Workshop: Drawings & Etchings (New Haven: Yale University Press, 1991), p. 10.
3. Leonardo to Van Gogh: Master Drawings from Budapest, 1985, was the first American exhibition of drawings
    from the Szépm
űvészeti Múzeum. The exhibition was organized by Dr. Ferenc Merényi, Director of the Museum;
    Dr. Klára Garas, Director Emeritus; and J. Carter Brown, Director of the National Gallery of Art in Washington, D.C.,
    where the exhibition opened its American tour. 
4. The Encyclopaedia of Oxford, ed. Christopher Hibbert (London: Macmillan, 1988), p. 40.