Documente Academic
Documente Profesional
Documente Cultură
BIOGRAPHY
Web site: Artists books:
www.stefanarteni.net www.solo.bodleian.ox.ac.uk
Videos:
http://www.youtube.com/user/stefanarteni
Calligraphy Demonstration
Thursday, November 21, 2013
2013
9th World Calligraphy Biennale of Jeollabuk-do
October 5 November 3, 2013, Sori Arts Center of Jeollabuk-do,
Jeonju, South Korea
Travel the Collections: Storytelling in Asian Art
Saturday, May 5, 4:30-6:30 p.m.
http://www.metmuseum.org/events/programs/talks-and-tours/gallery-workshops/travel-
the-collections?eid=A001_%7BBCD04A12-6ED0-4FA8-9A93-
8813B017451D%7D_20120105104518
2012
Brushed Voices (Art of Ink)
Shelter Rock Art Gallery
Unitarian Universalist Congregation
48 Shelter Rock Rd, Manhasset, NY 10030
Calligraphy Demonstrations and Artists Talks
by Stefan Arteni
February 26 March 19
2011
November 8 -27, Art of Ink,
Chiang Mai University (CMU), Thailand
Ashdown Forest. The New York Public Library childrens room dedicated
to the stories of Winnie-the Pooh written by A.A.Milne (1882-1956).
2009 World Calligraphy Biennale of Jeollabuk-do
Stefan Arteni 19-30 September 2009, Sori Arts Center of Jeollabuk-do,
(Geizan )
Jeonju, South Korea
Exhibition: Calligraphy Trends Sprouting in Europe
http://www.biennale.or.kr
2008
Art endures forever The purpose of art is to serve beauty The power of art is enduring
2007
Art of ink
Association Culturelle Franco-Japonaise de TENRI Espace Culturel
Bertin Poire, Paris (France)
Art of Ink
Hyundai Arts Center, Ulsan (Korea)
Los Angeles Center for Digital Art,
Los Angeles (U.S.A.)
Works in a private
collection,
Paris, France
Collection David S. Ferriero,
Washington, U.S.A.
Ehon
Continuity
and Change
The New York
Public Library,
New York
December 9, 2005 March 17, 2006
The Way of Form, Retrospective Exhibition 1971-2005, Q.C.C. Art Gallery-C.U.N.Y., New York
Visual art, evolutionary game theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing
(lecture-demonstration; March 9, 2006)
2005 Art of Ink 2005, New York Hall of Science (New York)
Online catalog:
http://seoulbiennale.com/new1.html (main
exhibition)
Art of Ink, Cal Poly Pomona W. Keith and Janet Kellog
University Art Gallery (Pomona, California)
Online catalog:
http://www.csupomona.edu/~kellogg_gallery/calligraphy_web/a
rtOfink_index.html
Mulpa International
Exhibition: Mulpa Art
Center (Seoul, Korea) and
Seoho Museum (Seoul,
Korea)
Art of Ink 2003, Shaanxi History " Calligraphy and Art. A New Perspective on
Museum (Xian, China) Contemporary Calligraphy: A Dialogue with Modern
Sinitic Writing Art (December 9, 2000 - January 14, 2001),
Tokyo Ginza Gallery Museum National Taiwan Museum of Fine Arts and Taichung County
(Tokyo, Japan) Seaport Art Center (Taichung, Taiwan). Curated by Lin Sue-
ching, Tsuei Yeong-shuei, Li Szu-hsien, and Lin Ming-shien.
2002
2001
Contemporary Calligraphy
Masters, Representatives and
Invitational Exhibition, Tokyo
Ginza Gallery Museum (Tokyo,
Japan)
Orpheus, St. Mark's Library Seabury Hall, The General Theological Seminary (New York)
Seton Hall University Galleries (South Orange, New Manhattan East Gallery (New York)
Jersey)
1991
1990
1974
1995
He now concentrates his research on the pictorial fact and procedural switches between formal contextures, the ludic ritual
act of the performance event that creates a form-space, art communication as a high-context process, the mereotopology
of formal constructs, metacultural sensibility and complexity theory, and the complementarity of painting and calligraphy.
The immediacy of ink splashes spattered
on paper creates a constructed void
Zao Wou-Ki
2004-2005
UNstant (An-instant), a collective work packaged in book form, initiated and made
possible by I.D.E.A.C. (Institut d'Esthetique des Arts Contemporains/Universite
Paris I - Pantheon-Sorbonne) and C.N.R.S.(Centre National de la Recherche
Scientifique), France, is about exploring transversal thought and emerging gesture
in the visual, audio, and movement mediums. Arteni's intervention (ink works,
artist's books and monotypes portfolio) showcases a polycontextural artistic matrix,
the mark as chronotopic palimpsest, the total gesture as immediate enstatic
experience.
2005
Image-Word: The Sol Invictus Press 'Laudes Creaturarum', St. Mark's Library, The General Theological Seminary (New
York)
In Memoriam Daniel Simko. Word as Icon, The New York Public Library, Slavic and Baltic Division (New York)
2000
Sign of The Logos, Artists Books and Related Materials, A Retrospective Exhibition of Sol
Invictus Press (November 19, 1998 - April 16, 1999) , St. Mark's Library, The General Theological
Seminary (New York). Curated by Isaac Gewirtz.
Apocalypse (album of clay monotypes)
1997
http://www.aracanada.org/galeries_photos/fira/artistes/index.html
http://www.aracanada.org/galeries_photos/fira/artistes/slides/124B.jpg
http://www.aracanada.org/galeries_photos/fira/artistes/index.html#124B.
jpg
General Background
Stefan Arteni, who sometimes uses the sobriquet Kyosen (Crazy Hermit), comes
from a multicultural background. He was born in Bucharest and has lived in Rome and New
York. Arteni was educated at Romanian elementary and secondary schools in Bucharest,
and continued his education at Romanian (Bucharest), Italian (Rome) and United States
(New York) universities. He has pursued studies in architecture, art history, fine arts, icon
and mural painting, and the restitution and conservation of architectural monuments. He is
also proficient in several languages and has worked for the Vatican Radio as redactor and art
historian for many years.
From the beginning, a translocal multi-identiy web and a recursiveness of identity recreation,
a being between and astride cultures and moving across languages and visual contextures
set side by side, imply a second-order perspective, an experiential metacultural sensibility
Byzantine art freely appropriated and adapted the artistic practices of pagan Rome. There is
a wealth of references, borrowings and allusions in works by Pablo Picasso. Sound and
music compositions have employed remixing, reuse, quotation and self-quotation, for
centuries. More than at any previous time, an artist may have today knowledge and access to
works of the past. Charles Esche has commented recently and not entirely sympathetically:
"The past has become the future".
Redefining the artscape triggers the collage loop in myriad combinations: the use of random
procedures, recycling of fragments handed over to memory, objets trouvs, a quarry of
fragments mined for visual and associative effect, stylistic collage, commercial imagery,
fragments of artworks, random cut or torn paper bits, recycled by means of montage, staging,
perspective, foreshortening, are used by Arteni in collage modelli to create conflict and Private collection,
contrast through colliding imagery, through recuperation and alteration, and through an ironic Rome, Italy
reference to and dtournement of the very strategies of the avantgarde 'canon', 'tradition' or
'dogma' - the terms are ambiguous and suggestive of the structural contradiction inherent in
the avantgarde concept itself.
What form of mediain the most general and generic sense of the
technology of representation, the genre of mediationwould be
appropriate to the modern experience of exile ? Is there a mediatic
temporality that could be usefully described as exilic ?...
Homi Bhabha
All painting is painted under erasure and so is (as it explicitly, self-reflexively proclaims itself) an
empty page that is, by that very emptiness, marked.
The collage of visual reference is echoed on the plane of color. Color orchestration provides an
ideal complement to Arteni's baroque imagery and playful use of genres iconography. The
anachronism of the genres does produce a number of effects such as an odyssey in time and
space through the interpenetration of various formal domains, and the reinscription of exilic or
diasporic otherness.
Private collection
U.S.A.-Spain Exile is a hard walk, an intricate tattoo.
Daniel Simko
Works in the Mobile Museum of Art A few works in U.S.A.
collection, Mobile, Alabama, U.S.A. private collections
To be otherwhere, to be otherwise
Massimo Campigli
Having felt limited by the inadequacy of the Western mainstream avantgarde paradigm and its memetics of
instability as well as by the accepted notions premised on the subservient role of painterly discourse, Arteni
turned elsewhere for inspiration and stylistic approaches. It is exactly the sense of being an outsider that allows
Arteni to observe with detached curiosity. The utter apartness (Abgeschiedenheit) of art amplifies the genealogy
of form. Classical revivalist concerns are merged with other traditions. These include the art of the Far East.
They also include protoscripts and folk art - where the synchronicity of figurative pictures and abstract motifs
may appear in the same sequence, a dual capacity that has been developed in pre-modern cultures
throughout the ages - and a variety of visual material re-valued by juxtaposition and viewed as empty signifier.
Teaching
: 2013-12-03 ()
Published: 2013-12-03 (Tuesday)
( )
. , ,
.
,
.
Stefan Arteni floor () ( brush demonstration)
.
50 (1963), , 20
.2 12 30
. .
http://www.artfixdaily.com/artwire/release/8120-
gesture-and-beyond-the-art-of-ink-in-america-2013-
14
Gesture and Beyond: The Art of Ink in America
2013/14
NEW LONDON, Connecticut -- 20 February 2014
PETRU URSACHE
Etnolog, estetician si istoric literar
Nscut la 15 mai 1931, n comuna Popesti, jud. Iasi).
Date personale
Absolv Liceul National Iasi n 1951, apoi Facultatea de Filologie a Universittii Al. I. Cuza (1952
1956), licentiat n limba si literatura romn. Doctor n Filologie (1971), conductor de doctorate,
disciplina Etnologie. Bibliotecar la Biblioteca judetean Gh. Asachi (1956 1958), preparator asistent
(1958 1960), lector (1960 1977), conferentiar (1977 1992), profesor (1992 2001) la Catedra de
Literatur romn si la Catedra de Literatur comparat.
The USR presentation of Petru Ursache reproduces Stefan Artenis digital portrait of professor Petru Ursache
http://usriasi.ro/petru.html August 2013
AID FOR AIDS auction NY
In celebration of its fifteenth anniversary AID FOR AIDS International (AFAI) is excited to announce the 2011 My
Hero Gala and silent art auction of prominent contemporary artists on Tuesday, November 8, 2011 at Three Sixty
(10 Desbrosses Street) in New York City. AFAI is honoring music icon Miguel Bos; President of Marc Jacobs
International Robert Duffy and his husband Alex Cespedes; former First Lady of Colombia, Lina Moreno de
Uribe; and President of the International Community for Women Living with HIV or AIDS, Patricia Prez. "The My
Hero Gala celebrates the courage to make a difference. Each of our honorees stand as a hero to those living with
HIV or AIDS and an inspiration to those of us who strive to do more," says AFAI Founder and Executive
Director, Jesus Aguais.
Chaired by AFAI board members Maria Eugenia Maury Arria, Graciela Dauhajre and Maria Jos Hidalgo, the
event will be attended by over 300 cultural luminaries, activists, artists, art patrons, and leaders in business and
philanthropy.
Joel Yoss of Hauser & Wirth Gallery serves as this year's Art Auction Committee Chair, joined by artistCarlos
Motta and art patron Beatriz de la Mora. Through their efforts, the Silent Auction will feature important works by
internationally renowned visual artists: Lara Alcantara Lansberg, Alexander Apstol, Stefan Arteni, Aziz +
Cucher, Tony Bechara, Isidro Blasco, Alberto Borea, Louise Bourgeois, Monika Bravo, Tania Candiani,
Carolina Caycedo, Patricia Cazorla, Alejandro Cesarco, Martin Creed, Matthew Day Jackson, Berlinde De
Bruyckere, Milagros de la Torre, Dias & Riedweg, Mauricio Donelli, Diana Drews, Marcia Grostein, Paul
Gabrielle, Regina Jos Galindo, Ellen Gallagher, Mary Heilmann , Christian Holstad , Roni Horn, Guillermo
Kuitca, Runo Lagomarsino, Adriana Lara, An-My L, Paul Lee, Almudena Legorreta, Lovett/ Codagnone,
Luis Mallo, Margarita Marino, Sean Mellyn, Steven Mendal, Ivn Navarro, Christopher Orr, Ana Patricia
Palacios, Carlos Reynoso, Patricia Rincn Mautner, Pipilotti Rist, Emilio Snchez, Wilbert Snchez Montes
de Oca, Fanny Sann, Horacio Sapere, Wilhelm Sasnal, Alexandra Seegers, Federico Serrano, Jorge Tacla,
Juergen Teller and Jakub Julian Ziolkowski.
http://www.wam-webartmagazine.com/index.php/previews/160-aid-for-aids-auction-ny
http://www.art-agenda.com/shows/aid-for-aids-internationals-2011-my-hero-gala-and-silent-art-auction/
http://www.aidforaids.org/index.php/site/donate_modalities/events/
WORKS IN AUCTION
Arteni Stefan
The Return of Ulysses, undated. Gouache on paper 30 1/4 x 22 1/4 inches Courtesy of the
artist 5,000.00
USD
http://www.scribd.com/collections/2675532/Semiologie
(Stefan Arteni and Sebeok, Peirce, Eco, etc.)
Stefan Arteni
Links (1)
http://www.tudor-art.com/main.php?category=link&language=1&id=8802&ses=da
pictor
Arteni Stefan scriitor secolul XX
http://www.gallerya.ro/artisti.php?language=0&page=29&alfa=A&gen=&epoca=&stil=&fir
stname=&lastname=
New York Public Library
Stephen A. Schwarzman Building
New York, NY 10018 United States
Details
http://www.worldcat.org/title/fool-of-a-cat-haiku/oclc/727829389
Laudes creaturarum (Book) by Francis, 1182-1226. Author: Francis, of Assisi, Saint,
1182-1226. Title: Laudes creaturarum / San Francesco d'Assisi. Publisher, Date:
[Jackson Heights, N.Y. : Sol Invictus], 1992. Description: [32] leaves : ill. ; 38 cm. Genre
Printing stones -- United States -- 20th century. Format: Book
http://www.phoenixpubliclibrary.org/controller.jsp?R=201467
http://www.arte.it/artista.php?id=63&q=&lang=en&show=bib&p=14&t=
http://www.arte.it/search.php?q=stefan+arteni&x=17&y=23
Asymetria . Revista de cultura, critica si imaginatie . Stefan Arteni . The E-C European Model . 4.The Avantgarde and Ma
Stefan Arteni . The E-C European Model . 4.The Avantgarde and [...] operates under the spell of a Marxist obsession . Stefan Arteni . The East-Central
European Cultural Model ...
Link: http://www.asymetria.org/modules.php?name=News&file=print&sid=721
Asymetria . Revista de cultura, critica si imaginatie . Stefan Arteni . The E-C European Model . 4.The Avantgarde and Ma
operates under the spell of a Marxist obsession . Stefan Arteni . The East-Central European Cultural Model ...
Link: http://www.asymetria.org/modules.php?name=News&file=article&sid=721
Stefan Arteni
http://www.stefanarteni.net/
Showcases the artist's work in Japanese calligraphy and painting and Sol Invictus Press, which creat es one of a kind artist's books. Lists exhibitions, collections and recent
Stefan Arteni, calligraphy, scroll painting, calligraphic, Arteni, Artini, Stephan, Japanese calligr aphy, shodo, artist's books, book arts, livres d'artiste, semiotic, phenomenology,
stefan, arteni
(SLD : stefanarteni.net)
Arts/Visual_Arts/Personal_Pages/A
Serving History
World History Served Up Daily
Polycontexturality
http://www.servinghistory.com/topics/polycontexturality
http://www.globalarchitectsguide.com/library/Polycontexturality.php
Stefan Arteni Painting as Polycontexturality - Stefan Arteni is an artist and writer
living in New York City.
Polycontexturality - In reason, subjectivity refers to the property of perceptions,
arguments, and language as being based in a subject point of view, and hence
influenced in accordance with
LIfe as Polycontexturality, Some Remarks - life as polycontexturality some
remarks on part 1. by Eberhard von Goldammer. As it was pointed out in the G
nther 2000 special a contexture is a logical domain where
http://www.mtakszi.iif.hu/cit-darvas_03-2010.pdf
THIERRY M. MARTINEZ cites Artenis paper Shodo on
http://savoir-changer.blogspot.com/2009/10/blog-post.html
http://www.webcom.com/~paf/ereignis3.html
new: www.beying.com/ereignis4.html
[cites Artenis paper Painting, Image, Likeness
with a link to the website]
http://www.laetusinpraesens.org/musings/conform.php
[site of Anthony Judge (Australia) who is the instigator of the Union of
Imaginative Associations (www.un-imagine.org) -- following his retirement in May
2007 as Director of Communications and Research at the Union of International
Associations (UIA) (www.uia.org). Cites Artenis paper Painting as
Polycontexturality]
17 http://www.quark-press.ro/site.php?document=MainFrameDoc&elementID=21399
From Glory to Glory The Sophianic Vision of Fr Sergius Bulgakov in Context of Tradition
by Robert Thompson
http://www.academia.edu/5493709/From_Glory_to_Glory_The_Sophianic_Vision_of_Fr_Sergius_Bulgakov_in_Co
ntext_of_Tradition
http://brightmetaphor.files.wordpress.com/2010/05/rthompson_thesis2.pdf
Rene's "final" work: towards a global art analysis (draft2)
Troy Harris Broadly speaking, calligraphy holds dissimilar social status in Eastern and Western art historical cultures.
[Buddhist name: Sritantra] However, in traditional Asiatic critical art practice, particularly in the Far Eastern literati tradition, there is
neither a compelling nor a valid distinction drawn between painting and calligraphy, as such, between
ascetic, artist, researcher, image and reflection, idea and word, for that matter, between presentation and representation.
poet, painter
What is more, in our present globalizing academic sense at least, painting isn't necessarily even
considered "painting" but more an extension of writing (criture), which covers simultaneously images and
letters, and thereby makes such terms as "letter" and "image" remarkably 'irrelevant in stricto senso'
(Inaga, 2007: 266).
http://bauddhamata.blogspot.com/ Calligraphy, then, as a facet of writing, and which thereby expects to communicate something, harbours
resounding rhetorical implications. And one ponders therefore as to what extent the peripheries of Asia had
Rene Labuies: an abstract monologue touched upon the thalassocratic quayage of Imperial Venice (ca. 13-15th cen). However, even in the far
earlier sixth-century period, Gregory the Great (d. 604) had already in essence classified the art of painting
I am currently composing an abstract as an aspect of 'Rhetoric' and thereby subsumed it under 'Word' (Arteni, 2001). Now if the inverse proposal
monograph, not on or about but very near to also holds true, then what shall be made of an artist's letters or even incoherently scribbled notes? Would
the life and work of Rene Laubies, accounting not these items form a part of the artist's corpus of "paintings"?
for his legacy by calling into play a radical
Euro-decentering effusion of cultural hybridity Full-bodied questions start to emerge in regard to our subject's final composition.
essential to the patterning of his own looming
art. Question 1: Where from Laubies, East or West?
Methodological pose: a hermeneutics of If East wins out, then the following comes to surface.
'wayfaring,' flneur and dap.
Question 2: What constitutes Rene Laubies's true "final" work?
Reference: Stefan Arteni 2001. "Painting,
Image, Likeness." I shall return to these questions as soon as possible.
on 22.10.07
References
In October 2007 Arteni received a few emails
from Sritantra.Sritantra wrote: Arteni, Stefan. 2001. Painting, Image, Likeness.
I first came across your online work more
than two years agoMy more recent studies Inaga, Shigemi. 2007 "Is Art History Globalizable? A critical commentary from a far Eastern Point of view,"
in Art History and Criticism have enabled me in Elkins (ed.), Is Art History Global?, 2007: 249-279).
better to understand and appreciate the scope [In the Far East traditions,] "calligraphy" and "painting" (shhua/shoga) is a single classification category in
and penetration of your vision Your work is the conservation of cultural properties. When the European academic definitions of fine arts was introduced
valuable particularly as the testament of a in Japan in the 1880s, it provoked harsh controversy. The question of whether calligraphy whould be
philosopher artist included or excluded from the category of fine arts was the point at issue. The opposition continues
today. (Inaga: 266)For Inaga's personally corrected Homepage version, see
http://www.nichibun.ac.jp/~aurora/pdf/2IsArtHistoryGlobalizable(revisedonJune20)pdf_put.pdf
on 27.2.08
A selection of Artenis works may be viewed on the website of the SAATCHI
GALLERY DUKE OF YORK HQ, London, U.K:
http://www.saatchigallery.co.uk/yourgallery/artist_profile/Stefan+Arteni/6833.html
http://www.saatchionline.com/wayofform
www.respiro.org/Issue10/arteni.htm
http://www.ikonartstudio.com/udigma-arteni.html
and
http://www.ikonartstudio.com/arteni-ulise.html
http://www.quark-press.ro/resources/images/pdf/
The%20Return%20of%20Ulysses%203.pdf :
Artenis digital artists book, The Return of Ulysses.
Arteni, Stefan
Showcases the artist's work in Japanese calligraphy and painting and Sol Invictus
Press, which creates one of a kind artist's books. Lists exhibitions,...
www.stefanarteni.net/
http://ro.wikipedia.org/wiki/List%C4%83_de_oameni_de_cultur%C4%83_rom%C3%A2ni
_care_au_emigrat_%C3%AEn_Occident
http://ro.wikipedia.org/w/index.php?title=%C8%98tefan_C._Arteni&action=edit&redlink=1
GUTENBERGS ARK, Iai, October 15, 2016
BOOKFEST, Cluj-Napoca, September 29, 2016
Editorial Salon, Trgovite, September 8, 2016
GAUDEAMUS Book Fair, Mamaia, August 11, 2016
BOOKFEST, Bucharest, June 2, 2016
GAUDEAMUS Book Fair, Oradea, May 18, 2016
GAUDEAMUS Book Fair, Cluj-Napoca, April 20, 2016
GAUDEAMUS Book Fair,
Craiova,
February 27-28, 2016
National Culture
Day -
Piatra Neamt ,
January 13, 2016
Five digital compositions by
Stefan Arteni
(Portraits of Professor Petru
Ursache)
are reproduced in
PETRU URSACHE,
Omul Bun Al Culturii
Romneti,
Eikon, Bucureti, 2016
GAUDEAMUS -
Book Fair,
Bucharest ,
November 20,
2015
LIBRIS
Book Fair,
Piatra Neamt ,
September 17,
2015
AXIS LIBRI
Book Fair,
Galati ,
May 27, 2015
GAUDEAMUS
Book Fair,
Cluj-Napoca ,
April 24, 2015
LIBRIS
Book Fair, Brasov -
March 19, 2015
LIBREX
Book Fair, Iasi -
March 11, 2015
Petru Ursache, Miorita, Dosarul Mitologic Al Unei Capodopere (Afterword by Stefan
Arteni), Eikon, Bucureti, 2015
[one of Artenis digital compositions is reproduced on the front cover]
City Forest
Book Fair,
Bucharest -
December 21,
2014
Focsani -
December 11, 2014
Iasi -
December 10, 2014
GAUDEAMUS
Book Fair,
Bucharest -
November 22,
2014
Petru Ursache, Gastrosofia sau Bucataria Vie, Eikon, Cluj-Napoca, 2014
[one of Artenis digital compositions is reproduced on the front cover]
Petru Ursache, Antropologia, O Stiinta Neocoloniala, Eikon, Cluj-Napoca, 2014
[one of Artenis digital compositions is reproduced on the front cover]
Petru Ursache, Moartea Formei, Eikon, Cluj-Napoca, 2014
[two of Artenis digital compositions are reproduced on the front and back covers]
Petru Ursache, Etnofrumosul, Eikon, Cluj-Napoca, 2014
[one of Artenis digital compositions is reproduced on the front cover]
Petru Ursache, Etnoestetica, Eikon, Cluj-Napoca, 2014
[one of Artenis digital compositions is reproduced on the front cover]
Petru Ursache, Etnosofia, Eikon, Cluj-Napoca, 2013
[two of Artenis digital compositions are reproduced on the front and back covers]
Petru Ursache, Miorita, Dosarul mitologic al unei Capodopere, Opera Magna, Iasi,
2013 [Artenis compositions are reproduced on the covers and as illustrations]
Magda Ursache, Vietile Cartarilor Contimporani, 2012
Artenis digital portrait of the writer Magda Ursache is reproduced on the cover
Petru Ursache, Omul din Calidor, 2012
[five of Artenis digital compositions are reproduced as illustrations and on front cover]
Petru Ursache, Omul din Calidor,
2012
[five of Artenis digital compositions are
reproduced as illustrations and on front
cover]
Ardealul Literar, Year XIV,
Nr.1 (52)/2012
[two of Artenis paintings are reproduced
on the covers/
ARGES, Year XI (XLVI), nr. 11 (353), November 2011, published by Centrul Cultural Pitesti
[a work by Arteni illustrates Mihai Rogobetes article]
ARGES, Year XI (XLVI), nr. 8 (350), August 2011, published by Centrul Cultural Pitesti
[a work by Arteni illustrates Mihai Rogobetes article]
ARGES, Year XI (XLVI), nr. 7, July 2011, published by Centrul Cultural Pitesti
[a work by Arteni illustrates Mihai Rogobetes article]
ARGES, Year XI (XLVI), nr. 6, June 2011, published by Centrul Cultural Pitesti
[a work by Arteni illustrates Mihai Rogobetes article]
ARGES, Year XI (XLVI), nr. 5, May 2011, published by Centrul Cultural Pitesti
[a work by Arteni illustrates Mihai Rogobetes article]
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
Artenis digital portrait of the writer Magda Ursache,
ACOLADA, January 2010
http://www.editurapleiade.eu/images/static/files/1_2010.pdf
Magda Ursache, Sa Cititi Bine!, 2010
Artenis digital portrait of the writer Magda Ursache is reproduced on the cover
Petru Ursache, Short Treatise on Theological Aesthetics, second edition, 2009
[two of Artenis works are reproduced on the covers]
Petru Ursache, Short Treatise on Theological Aesthetics, second edition, 2009
[eight of Artenis works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy
[ten of Artenis works are reproduced as illustrations]
SPATII CULTURALE,
nr.6/September-October 2009,
Ramnicu-Valcea,
reproduces Artenis digital
portrait of the writer
Magda Ursache,
http://spatiiculturale.50gigs.net/6-
2009/INTERVIU.htm
ARGES, Year IX (XLIV), nr. 8 (326),
August 2009, published by Centrul
Cultural Pitesti
[Artenis Udigma article is illustrated
with a digital selfportrait]
Sorin Parvu, general coordinator, A DICTIONARY OF NORTH-AMERICAN WRITERS.VOL I. A,
European Institute and Centre dEtudes Canadiennes, Iassy, 2008 (the Dictionary lists also
North-American visual artists)
POSTMODERNISM(E), no. 1-2, 2009,
European Institute, Iassy [six of Artenis works
are reproduced as illustrations and one work
is reproduced on the cover ]
POSTMODERNISM(E), no. 1-2, 2009,
European Institute, Iassy [six of Artenis works
are reproduced as illustrations and one work
is reproduced on the cover ]
www.davidould.net/.../christs_descent_to_hades
[David Ould, an Englishman who studies at
Moore Theological College in Sydney, wrote an
essay entitled Christs Descent to Hades. Artenis
Anastasis has been used as illustration]
Maxime Martinez posted an album of
reproductions of Artenis works:
https://picasaweb.google.com/Macsmart2/
StefanArteni#
http://orthodoxe-ordinaire.blogspot.com/2008/08/zen-transfiguration.html
[reproduces Artenis Transfiguration]
http://picasaweb.google.com/Macsmart2/StefanArteni#slideshow
mardi 23 dcembre 2008
Maxime Martinez
http://orthodoxe-ordinaire.blogspot.com/search?q=arteni
[reproduces Artenis Nativity compositions]
Five-character-ancient-verse
Zhang Jiuling
ORCHID AND ORANGE II
Home
Quark/Biblioteca virtual/continuare
Despre Noi
Galerie de art
The Return of Ulysses 4 (pdf)
Bible Review, June 2004: Artenis Bible Review, February 2005: Arteni's
Anastasis is reproduced on the cover. Conversion of Saul is reproduced on the
Gallery page.
http://members.bib-
arch.org/publication.asp?PubID=BSBR&Volume=21&Is
sue=1&ArticleID=9
Gallery
The Conversion of Saul
The letters attributed to him account for almost half of the New Testaments 27 books, but Paul
originally Saulof Tarsus didnt start out a fan of Jesus or his followers. It took a blinding flash of
light and a fall to transform this persecutor of Christians into Christianitys all-time greatest
advocate. His famous change of heart on the road to Damascus is depicted in this work by
Romanian-born New York painter and master calligrapher Stefan Arteni.
The Book of Acts tells how Saul, a tentmaker, oversaw the stoning of the first Christian martyr,
Stephen. Fired by a zealous hatred for the followers of Jesus, Saul denounced other Christians and
voted for their execution, and then took his show on the roadheading for Damascus to trouble
Christians there. On the way, however, he experiences one of the Bibles great turnabouts: While
he was still on the road and nearing Damascus, suddenly a light from the sky flashed all around
him. He fell to the ground and heard a voice saying, Saul, Saul, why are you persecuting me? Tell
me, Lord, he said, who you are. The voice answered, I am Jesus, whom you are persecuting. ...
Saul got up from the ground, but when he opened his eyes he could not see (Acts 9:38).
Photo by Robert D. Rubic, courtesy of
Stefan Arteni.
ON THE COVER: Jesus stands on the
gates of Hell (marked with a skull) in
this Japanese ink and gouache painting
of the Anastasis (Resurrection), by
contemporary New York artist Stefan
Arteni. With his right hand, Jesus pulls
Adam up; in his left hand, he holds a
scroll. According to early Christian
tradition, after Jesus died, he
descended into Hell, where he raised
the Old Testament heroes from the
dead and invited them to join him in
heaven. The scroll Jesus holds in
images of the descent (also called the
Harrowing of Hell) may stem from a
medieval tradition that remains alive
today in Eastern European folktales.
According to these legends (described
by David R. Cartlidge in Dealing with
the Devil), Jesus not only saved Adam,
he also tore up the scrolled contract the
http://members.bib-
arch.org/image.asp?PubID=BSBR&Volume=20&Issue=03&ImageID=0 first man had signed with Satan after
c100&SourcePage=publication.asp&UserID=0& the Fall.
Calligraphy World, June 1996: an article on the 1996 calligraphy competition where
Stefan Arteni was awarded the Japan Foreign Affairs Ministers grand prize
(Jacqueline Brody, Editor, The
Print Collectors Newsletter,
Vol.XXIV No. 1 March-April
1993: an article about Laudes
Creaturarum, the first artists
book published by SolInvictus
Press)
A number of Artenis publications may be read on:
http://www.scribd.com/stefan%20arteni
and on:
http://www.cartidownload.ro/Diverse/490578/
Stefan_Arteni_the_East_Central_European_Cultural_Model
as well as on:
Asymetria - revue roumaine de culture, critique et imagination
http://www.asymetria.org/
http://opac.khi.fi.it/cgi-bin/hkhi_de.pl
http://www.colour-europe.de/StartSeiteInstitutionen-dfz-themen.htm :
Arteni, Stefan C., New York (USA),1982, 'Farbenmischung und lfarben,
Deutsches Farbenzentrum e.V.
REFERENCES
Arteni, S. C., and M. S., Posada. 1984. The secrets of the masters: Historical
controversies and hypotheses. ICOM Committee for conservation preprints, 7th Triennial
Meeting, Copenhagen. Paris: ICOM. 1:84.11.12.
Scientific Papers, Reports, and Broadcasts
1-61
The History of Christian Art in Europe
(61 Broadcasted Programs, Radio Vaticana-Sezione Romena 1974-1975:
1-28: Early Christian Art;
29-33: Carolingian Renaissance;
34-40: Ottonian Art;
41-44: Romanesque Art;
45-61: Gothic Art.)
62
Imaginile Sacre si Spiritul unei Tehnici
Buna Vestire XIII 3-4 (1974), 131-163 (Tipografia Poliglota Gregoriana,
Rome, Italy)
63
Studiu asupra Bisericilor dela Voronet si Arbore
Buna Vestire XV 3-4 (1976), 65-100 (Tipografia Poliglota Gregoriana,
Rome, Italy)
64
The Medium and Grounds of 17th Century Flemish and Dutch Pictures
of Flowers, Convegno di studi sul Restauro a Dieci Anni dall' Alluvione
in Firenze, 1976 (Florence: Edizioni Polistampa, 1981)
I 59-62
65
Two Retouching Media,
Ibid., 63-65.
66
The Manufacture of Oil Vehicles for Painting Purposes,
13th I.S.F. International Congress, Section Lipids in Art, Marseille,
France, 1976 (Marseille: Laboratoire National des Matieres Grasses -
Institut des Corps Gras and Modena: Artioli, 1976)
5-15.
67
Properties of Basic Lead Carbonate Ground in Various Vehicles,
in collaboration with Dr. C. Y. Jeanson, 14th I.S.F. International
Congress, Section Lipids in Art, Brighton, England, 1978
(Modena and Correggio: Artioli and S.I.R.A.I., 1980)
68
Grounds for Oil Painting. A Survey of Materials,
in collaboration with M. Sanchez Posada
Ibid., 71-77.
69
The Materials and Techniques of Spanish Masters,
in collaboration with M. Sanchez Posada
Ibid., 57-61.
70
Inquiry into the Nature of Oils and Varnishes Used in the Low Countries,
Ibid., 113-124.
71
The Notes of De Mayerne on Artists' Oil Colors,
Ibid., 103-109.
72
The Strasburg Manuscript, a Compendium of Van Eyck's Materials and
Techniques, Ibid., 127-134.
73
Notes on Artists' Materials. A Short Treatise on the Art of Painting,
Ibid., 139-153.
74
Space, Color, Medium,
Ibid., 159-180.
75
Emulsions et Mediums,
Ibid., 88-90.
76
Notes on Some Formulas for White Oil Colors,
Ibid., 77-78.
77
Experimental Oil Painting 1973,
Ibid., 78-79.
78
Notes on Romanian Painting Techniques,
Ibid., 79-80.
79
Pacheco: Original Extracts on Distemper, Tempera and Illuminating Materials,
Ibid., 61-62.
80
The Construction of a Painting. Introduction,
Ibid., 62-64.
81
Amber and the Italian Varnish,
Ibid., 64-65.
82
Wax and Other Materials,
Ibid., 64-65.
83
Alchemy and the Art of Painting in Oils,
Ibid., 135.
84
Les Materiaux pour Couleurs a l'Eau et Pastels dans le
Manuscrit du Docteur Turquet de Mayerne,
Ibid., 135-138.
85
Poppy Oil Vehicles,
Ibid., 125-126.
86
Inpainting Media,
Ibid., 153-154.
87
Critical Evaluation of Published Data on the Composition of Ancient
Materials. Some Questions of Research and Practice (Unpublished
paper, I.S.F.-A.O.C.S. 1980 International Congress, Section Lipids
in Art, New York, USA)
88
Drawing Materials, a Preliminary Study. Restoration Problems of
Drawings Executed in Mixed Techniques in collaboration with M.
Sanchez Posada de Arteni
Ibid.
89
Technological Innovation and Manufacture of Oil Painting Materials:
Evolution from Hand-Craft to Mass Production
Ibid.
90
Color Mixtures, a Clue to the Study of Oil Painting
Ibid.
91
The 'Secret' of the Masters
Ibid.
92
Preparation of Colors
Ibid
93
Report on the Meeting of Section Lipids in Art, May 1, 1980
Survey on Lipid Science and Technology 1980.
Reports from the Joint I.S.F./A.O.C.S. Congress-15th I.S.F. Congress
123-133.
94
Pallady. Twentieth Century Romanian Painting in Europe
(Unpublished paper, A. R. A. 2, 1977)
95
A Century of Romanian Painting: 1877-1977
(Unpublished paper, A.R.A. 3, 1978)
96
Aesthetic Problems of the Paint Layer: Moldavian Wall Painting,
Easel Painting and Illumination in Relation to Modern Oil Painting in
Romania. First Part.
(Unpublished paper, A.R.A. 4, 1979)
97
Aesthetic Problems of the Paint Layer: Moldavian Wall Painting,
Easel Painting and Illumination in Relation to Modern Oil Painting in
Romania. Second Part.
(Unpublished paper, A.R.A. 5, 1980)
98
Materials and Techniques of Glass Sub-Surface Painting
Ibid.
99
Painter, Manufacturer of Artists' Materials and Conservator:
Historical and Aesthetic Significance of Their Role in the Survival of a
Painting in collaboration with M. Sanchez Posada de Arteni,
I.C.O.M. Committee for Conservation 6th Triennial Meeting, Ottawa,
Canada, 1981, published as I.C.O.M. Report 81/11/2.
100
Color and Romanian Painting
(Unpublished paper, A.R.A. 6, 1981)
101
Farbenmishung und Oelfarben
(Unpublished paper, FARB-INFO 82, Amsterdam, Holland, 1982)
102
Color Mixtures, a Clue to the Study of Oil Painting,
in collaboration with M. Sanchez Posada de Arteni, Fourth International
Restorer Seminar, Veszprem, Hungary, 1983
(Budapest: National Centre of Museums and U.N.E.S.C.O., 1984)
121-134.
103
From Handcraft to Massproduction, Notes on the Manufacture of
Oil Painting Materials.
in collaboration with M. Sanchez Posada de Arteni,
Fourth International Restorer Seminar Veszprem, Hungary, 1983,
unpublished.
104
Glass Sub-Surface Painting in Romania, Seventeenth to Twentieth
Centuries, in collaboration with M. Sanchez Posada de Arteni,
I.C.O.M. Committee for Conservation 7th Triennial Meeting, Copenhagen,
Denmark, 1984 (Paris: I.C.O.M. and J. Paul Getty Trust, 1984), Report 84/3/1.
105
Critical Evaluation of Data on the Composition of Ancient Materials.
Part I: Structural Components of the Paint Layer. Part II: Paints and
Techniques, in collaboration with M. Sanchez Posada de Arteni
Ibid., Report 84/11/2.
106
Materials of the Artist. The Survival of Traditional Grounding and
Priming Methods for Oil Painting,
in collaboration with M. Sanchez Posada de Arteni, Ibid., Report 84/11/8.
107
The Secret of the Masters: Historical Controversies and Hypotheses,
in collaboration with M. Sanchez Posada de Arteni, Ibid., Report 84/11/12.
108
From Handcraft to Massproduction. Notes on the Manufacture of
Oil Painting Materials,
in collaboration with M. Sanchez Posada de Arteni, Ibid., Report 84/19/1.
109
Artist, Preserver, and the Question of Survival for Contemporary Painting,
Fifth International Restorer Seminar, Veszprem, Hungary, 1985
(Budapest: National Centre of Museums and U.N.E.S.C.O., 1985)
121-125.
110
Nuestro Ancestro Esta en Peligro,
in collaboration with M. Sanchez Posada de Arteni,
International Conference on Archives,
Cali, Colombia, 1986, Unpublished.
111
Peinture, Restoration, Societe,
in collaboration with M. Sanchez Posada de Arteni,
I.C.O.M. Comittee for Conservation 8th Triennial Meeting,
Sydney, Australia, 1987
(Los Angeles: J. Paul Getty Conservation Institute, 1987)
II 525-531.
112
The Essential Dilemma of Contemporary Painting,
Sixth International Restorer Seminar, Veszprem, Hungary, 1987
(Budapest: National centre of Museums and U.N.E.S.C.O., 1987)
443-448.
113
Drawing Materials and Water-base Mediums,
in collaboration with M. Sanchez Posada de Arteni
Ibid., 449-456.
114
A Wandering Journey,
Unpublished lecture/calligraphy demonstration
(Greek, Sanskrit, Chinese, Japanese)/calligraphy workshop, April 7, 1999,
St. Mark's Library, The General Theological Seminary, New York, NY.