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Stefan Arteni BIOGRAPHY

Stefan Arteni BIOGRAPHY

There is …not only a cognitive a priori, but also an abyssal a priori, abyssal stylistic… A multitude of stylistic matrices…interfere…alter and contaminate each other… Lucian Blaga

Selected Exhibitions and Awards In competitions organized by the Japan Calligraphic Art Academy in Tokyo and the Japan Calligraphy

Center in Los Angeles,

for Calligraphy in 1996 and in 2005, the Silver Award for Kana (linked writing) in 1999, the Consul General of Japan in Los Angeles Grand Prize in 2002.

Stefan Arteni was awarded the Japan Foreign Affairs Minister's Grand Prize

Japan in Los Angeles Grand Prize in 2002. Stefan Arteni was awarded the Japan Foreign Affairs
Japan in Los Angeles Grand Prize in 2002. Stefan Arteni was awarded the Japan Foreign Affairs
Japan in Los Angeles Grand Prize in 2002. Stefan Arteni was awarded the Japan Foreign Affairs
Arteni's art sprouted in the bitter soils of an East-Central Europe haunted by horrors ,

Arteni's art sprouted in the bitter soils of an East-Central Europe haunted by horrors , in the shadows of hegemonic ideologies, in the cultural climate of borderlands rooted in latency and limological uncertainties. The geographic accident of being intermediate between West and East - chance [fatum] is etymologically linked to fate - defines coexistence within the Self of two or more 'here-and-now'. Being somewhere in- between, leads to simultaneous incorporation in more than one culture, to inner multiplicity, to an interplay of multiple parallel and distributed identity constructions and to the metaphor of form as secure multi-ontology assertion. It is a matter of having to forge a communication which opens to a singular play of the visual, a play that spells out the paradoxicality built into the recomposition of painterly acts by means of parallel transclassic operations which activate and adopt a variety of incongruent formal devices and domains, however strange this may seem in view of the Procustean mindset of the contemporary art world. With an inherent heterarchical outlook and a flâneur's eye for chance, Arteni juxtaposes the 'look from within' and the 'look from without', transcending the horizons of each particular cultural contexture, while non-synchronous tendencies within styles bring about formal mutation. It is a view from the margins, a play with the disruption incited by the boundary entity. It suggests displacement and the ephemeral quality of past and future. Arteni's migrating polycontextural mind with its paradoxical multiplicity of identities crosses multiple borders. The presence of the archaic within the contemporary complements the representation of the present in an allegorical vision of the past. To be sure, it is a paradoxification which manages multiple formal domains, fixing new levels of creative knowledge. Such an aesthetics subtly undergirds much of Arteni's thought. Implicit in this is a de-privileging of logocentrism and metanarratives.

International Exhibition and Symposium LUO QI & CALLIGRAPHYSM The Exhibition: Luo Qi and Calligraphysm makes it possible for us to newly discourse on characters and paintings, tradition and modernism, as well as life and art.

KYUNGPOOK NATIONAL UNIVERSITY ART MUSEUM - KOREA 2014.10.08 - 2014.12.20

and modernism, as well as life and art. KYUNGPOOK NATIONAL UNIVERSITY ART MUSEUM - KOREA 2014.10.08
and modernism, as well as life and art. KYUNGPOOK NATIONAL UNIVERSITY ART MUSEUM - KOREA 2014.10.08
and modernism, as well as life and art. KYUNGPOOK NATIONAL UNIVERSITY ART MUSEUM - KOREA 2014.10.08
and modernism, as well as life and art. KYUNGPOOK NATIONAL UNIVERSITY ART MUSEUM - KOREA 2014.10.08
2014 Art of Ink in America : Alexey von Schlippe Gallery of Art University of
2014 Art of Ink in America : Alexey von Schlippe Gallery of Art University of

2014 Art of Ink in America :

Alexey von Schlippe Gallery of Art University of Connecticut, Avery Point 1084 Shennecossett Road, Groton, CT 06340 and Charles Chu Asian Art Reading Room Charles E. Shain Library Connecticut College 270 Mohegan Avenue New London, CT 06320 March 8 - April 20, 2014

2013 Art of Ink in America :

Gesture and Beyond, November 21 – December 30, 2013, Godwin-Ternbach Museum, Queens College, CUNY, New York

30, 2013, Godwin-Ternbach Museum, Queens College, CUNY, New York Calligraphy Demonstration Thursday, November 21, 2013

Calligraphy Demonstration Thursday, November 21, 2013

2013 9th World Calligraphy Biennale of Jeollabuk-do October 5 – November 3, 2013, Sori Arts

2013

9th World Calligraphy Biennale of Jeollabuk-do October 5 – November 3, 2013, Sori Arts Center of Jeollabuk-do, Jeonju, South Korea

Calligraphy Biennale of Jeollabuk-do October 5 – November 3, 2013, Sori Arts Center of Jeollabuk-do, Jeonju,
Calligraphy Biennale of Jeollabuk-do October 5 – November 3, 2013, Sori Arts Center of Jeollabuk-do, Jeonju,
Travel the Collections: Storytelling in Asian Art Saturday, May 5, 4:30-6:30 p.m. Stefan Arteni, calligrapher

Travel the Collections: Storytelling in Asian Art Saturday, May 5, 4:30-6:30 p.m.

Stefan Arteni, calligrapher Elizabeth Hammer, lecturer Thomas Lee, storyteller Rajika Puri, dancer Gallery 206

Investigate different narrative traditions in Asian art with a calligrapher, an educator, a storyteller, and a dancer in this gallery workshop inspired by the exhibition Storytelling in Japanese Art.

2012

Brushed Voices (Art of Ink) Shelter Rock Art Gallery Unitarian Universalist Congregation 48 Shelter Rock Rd, Manhasset, NY 10030 Calligraphy Demonstrations and Artist’s Talks

by Stefan Arteni

February 26

Rock Rd, Manhasset, NY 10030 Calligraphy Demonstrations and Artist’s Talks by Stefan Arteni February 26 March
Rock Rd, Manhasset, NY 10030 Calligraphy Demonstrations and Artist’s Talks by Stefan Arteni February 26 March

March 19

Rock Rd, Manhasset, NY 10030 Calligraphy Demonstrations and Artist’s Talks by Stefan Arteni February 26 March
Rock Rd, Manhasset, NY 10030 Calligraphy Demonstrations and Artist’s Talks by Stefan Arteni February 26 March

2011

November 8 -27, Art of Ink, Chiang Mai University (CMU), Thailand

A line from Li Sao:

a circle does not fit with a square design Width: 48.3 cm Height: 132.7 cm

(CMU), Thailand A line from Li Sao: a circle does not fit with a square design

2009

Stefan Arteni’s mural project

2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to
2009 Stefan Arteni’s mural project Ashdown Forest. The New York Public Library children’s room dedicated to

Ashdown Forest. The New York Public Library children’s room dedicated to the stories of Winnie-the Pooh written by A.A.Milne (1882-1956).

Stefan Arteni

(Geizan

Stefan Arteni (Geizan )

)

Stefan Arteni (Geizan ) 2009 World Calligraphy Biennale of Jeollabuk-do 19-30 September 2009, Sori Arts Center

2009 World Calligraphy Biennale of Jeollabuk-do 19-30 September 2009, Sori Arts Center of Jeollabuk-do, Jeonju, South Korea Exhibition: Calligraphy Trends Sprouting in Europe http://www.biennale.or.kr

Time waits for no man Width: 46 cm Height: 150 cm

Time waits for no man Width: 46 cm Height: 150 cm A line from Li Sao:

A line from Li Sao:

a circle does not fit with a square design Width: 48.3 cm Height: 132.7 cm

Arteni

has

extensively

exhibited

calligraphies

and

paintings throughout

Europe, the United States, and in Japan, Korea, China, and Taiwan:

2008

Irvine Fine Arts Center, Irvine (California)

Europe, the United States, and in Japan, Korea, China, and Taiwan: 2008 Irvine Fine Arts Center,
Europe, the United States, and in Japan, Korea, China, and Taiwan: 2008 Irvine Fine Arts Center,

“On The Borderline”, 2008 Seoul Calligraphy Biennale, National Seoul Art Center, Seoul (Korea)

Calligraphy Triptych, each panel 134.5 x 68.00 cm

(Korea) Calligraphy Triptych , each panel 134.5 x 68.00 cm Art endures forever The purpose of

Art endures forever

Triptych , each panel 134.5 x 68.00 cm Art endures forever The purpose of art is

The purpose of art is to serve beauty

, each panel 134.5 x 68.00 cm Art endures forever The purpose of art is to

The power of art is enduring

2007

Art of ink Association Culturelle Franco-Japonaise de TENRI – Espace Culturel Bertin Poirée, Paris (France)

de TENRI – Espace Culturel Bertin Poirée, Paris (France) Art of Ink Hyundai Arts Center, Ulsan
de TENRI – Espace Culturel Bertin Poirée, Paris (France) Art of Ink Hyundai Arts Center, Ulsan

Art of Ink Hyundai Arts Center, Ulsan (Korea)

Los Angeles Center for Digital Art, Los Angeles (U.S.A.)

Los Angeles Center for Digital Art, Los Angeles (U.S.A.) Works in a private collection, Paris, France
Los Angeles Center for Digital Art, Los Angeles (U.S.A.) Works in a private collection, Paris, France
Los Angeles Center for Digital Art, Los Angeles (U.S.A.) Works in a private collection, Paris, France

Works in a private collection, Paris, France

Collection David S. Ferriero, Washington, U.S.A.

Collection Chris Lesser New York, U.S.A.

Collection Joseph Davis, New York, U.S.A.

David S. Ferriero, Washington, U.S.A. Collection Chris Lesser New York, U.S.A. Collection Joseph Davis, New York,
Private Collection, Iasi, Romania Private Collection, New York, U.S.A.

Private Collection, Iasi, Romania Private Collection, New York, U.S.A.

Private Collection, Iasi, Romania Private Collection, New York, U.S.A.
Private Collection, Iasi, Romania Private Collection, New York, U.S.A.
Private Collection, Iasi, Romania Private Collection, New York, U.S.A.
Private Collection, Iasi, Romania Private Collection, New York, U.S.A.

Private Collection, U.S.A.

Private Collection, U.S.A.

2006

The World Calligraphy Festival – International Modern Calligraphy Exhibition Gong-pyung Art Center (Seoul, Korea) Online catalog:

or http://seoulbiennale.com/f-gallery/modern89.html Ehon – Continuity and Change The New York Public Library,

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)

theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing (lecture-demonstration; March 9, 2006)
theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing (lecture-demonstration; March 9, 2006)
theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing (lecture-demonstration; March 9, 2006)
theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing (lecture-demonstration; March 9, 2006)
theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing (lecture-demonstration; March 9, 2006)

2005

"Energy and Diffusion", Seoul Calligraphy Biennial: Seoul Museum of Art, Seoul Museum of History, Gong-pyung Art Center, Gallery La Mer, Gong Gallery (Seoul, Korea)

Art Center, Gallery La Mer, Gong Gallery (Seoul, Korea) Online catalog: http://seoulbiennale.com/new1.html (main

Online catalog:

Art of Ink 2005, New York Hall of Science (New York)

catalog: http://seoulbiennale.com/new1.html (main exhibition) Art of Ink 2005, New York Hall of Science (New York)
catalog: http://seoulbiennale.com/new1.html (main exhibition) Art of Ink 2005, New York Hall of Science (New York)
catalog: http://seoulbiennale.com/new1.html (main exhibition) Art of Ink 2005, New York Hall of Science (New York)
catalog: http://seoulbiennale.com/new1.html (main exhibition) Art of Ink 2005, New York Hall of Science (New York)

Art of Ink, Cal Poly Pomona W. Keith and Janet Kellog University Art Gallery (Pomona, California) Online catalog:

catalog: http://www.csupomona.edu/~kellogg_gallery/calligraphy_web/a rtOfink_index.html Doizaki Galleries (Los Angeles)

Doizaki Galleries (Los Angeles)

catalog: http://www.csupomona.edu/~kellogg_gallery/calligraphy_web/a rtOfink_index.html Doizaki Galleries (Los Angeles)

2004

Yusho Ten, Tokyo-Geijyutu- Gekijyo (Tokyo, Japan)

2004 Yusho Ten, Tokyo-Geijyutu- Gekijyo (Tokyo, Japan) Mulpa International Exhibition : Mulpa Art Center (Seoul, Korea)

Mulpa International Exhibition: Mulpa Art Center (Seoul, Korea) and Seoho Museum (Seoul, Korea)

Art Center (Seoul, Korea) and Seoho Museum (Seoul, Korea) Art of Ink 2004 , Mobile Museum

Art of Ink 2004, Mobile Museum of Art (Mobile, Alabama)

and Seoho Museum (Seoul, Korea) Art of Ink 2004 , Mobile Museum of Art (Mobile, Alabama)
and Seoho Museum (Seoul, Korea) Art of Ink 2004 , Mobile Museum of Art (Mobile, Alabama)

Doizaki Galleries (Los Angeles)

and Seoho Museum (Seoul, Korea) Art of Ink 2004 , Mobile Museum of Art (Mobile, Alabama)
and Seoho Museum (Seoul, Korea) Art of Ink 2004 , Mobile Museum of Art (Mobile, Alabama)

2003

Art of Ink 2003, Shaanxi History Museum (Xi’an, China)

Tokyo Ginza Gallery Museum (Tokyo, Japan)

2002

Doizaki Galleries (Los Angeles)

2001

Contemporary Calligraphy Masters, Representatives and Invitational Exhibition, Tokyo Ginza Gallery Museum (Tokyo, Japan)

Doizaki Galleries (Los Angeles)

2000 - 2001

" Calligraphy and Art. A New Perspective on Contemporary Calligraphy: A Dialogue with Modern Sinitic Writing Art” (December 9, 2000 - January 14, 2001), National Taiwan Museum of Fine Arts and Taichung County Seaport Art Center (Taichung, Taiwan). Curated by Lin Sue- ching, Tsuei Yeong-shuei, Li Szu-hsien, and Lin Ming-shien.

Seaport Art Center (Taichung, Taiwan). Curated by Lin Sue- ching, Tsuei Yeong-shuei, Li Szu-hsien, and Lin

Works in the collection of the National Taiwan Museum of Fine Arts, Taichung, Taiwan

Works in the collection of the National Taiwan Museum of Fine Arts, Taichung, Taiwan
Works in the collection of the National Taiwan Museum of Fine Arts, Taichung, Taiwan
Works in the collection of the National Taiwan Museum of Fine Arts, Taichung, Taiwan
Works in the collection of the National Taiwan Museum of Fine Arts, Taichung, Taiwan
Works in Japanese private collections
Works in Japanese private collections
Works in Japanese private collections

Works in Japanese private collections

Works in Japanese private collections
Works in Japanese private collections
Works in Japanese private collections
Works in Japanese private collections

2000

Orpheus,

St. Mark's Library Seabury Hall, The General Theological Seminary (New York)

Seabury Hall, The General Theological Seminary (New York) Ink 2000 , Newhouse Salon (New York) Doizaki
Seabury Hall, The General Theological Seminary (New York) Ink 2000 , Newhouse Salon (New York) Doizaki
Seabury Hall, The General Theological Seminary (New York) Ink 2000 , Newhouse Salon (New York) Doizaki

Ink 2000, Newhouse Salon (New York)

Doizaki Galleries (Los Angeles)

Hall, The General Theological Seminary (New York) Ink 2000 , Newhouse Salon (New York) Doizaki Galleries
Hall, The General Theological Seminary (New York) Ink 2000 , Newhouse Salon (New York) Doizaki Galleries

1999

Brushpaths, The General Theological Seminary (New York)

1999 Brushpaths, The General Theological Seminary (New York) Monotypes , St. Mark's Library, The General Theological
1999 Brushpaths, The General Theological Seminary (New York) Monotypes , St. Mark's Library, The General Theological

Monotypes, St. Mark's Library, The General Theological Seminary (New York)

Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los
Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los
Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los
Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los
Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los
Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los
Library, The General Theological Seminary (New York) < Private collection, Osaka,Japan Doizaki Galleries (Los

<Private collection, Osaka,Japan

Doizaki Galleries (Los Angeles)

Avant-garde Oriental Calligraphy, Doul Art Center (Seoul, Korea)

collection, Osaka,Japan Doizaki Galleries (Los Angeles) Avant-garde Oriental Calligraphy , Doul Art Center (Seoul, Korea)

1998

Doizaki Galleries (Los Angeles)

Mansfield Freeman and Davison Center for the Arts, Wesleyan University (Middletown, Connecticut)

for the Arts, Wesleyan University (Middletown, Connecticut) 1997 East and West. Allegories , Kobe Art Hall
for the Arts, Wesleyan University (Middletown, Connecticut) 1997 East and West. Allegories , Kobe Art Hall
for the Arts, Wesleyan University (Middletown, Connecticut) 1997 East and West. Allegories , Kobe Art Hall

1997

East and West. Allegories, Kobe Art Hall (Kobe, Japan), September 25-30, 1997

, Kobe Art Hall (Kobe, Japan), September 25-30, 1997 Tweed Museum (Duluth, Minnesota) Doizaki Galleries (Los
, Kobe Art Hall (Kobe, Japan), September 25-30, 1997 Tweed Museum (Duluth, Minnesota) Doizaki Galleries (Los
, Kobe Art Hall (Kobe, Japan), September 25-30, 1997 Tweed Museum (Duluth, Minnesota) Doizaki Galleries (Los
, Kobe Art Hall (Kobe, Japan), September 25-30, 1997 Tweed Museum (Duluth, Minnesota) Doizaki Galleries (Los

Tweed Museum (Duluth, Minnesota)

Doizaki Galleries (Los Angeles)

1996

Seton Hall University Galleries (South Orange, New Jersey)

Seton Hall University Galleries (South Orange, New Jersey) Doizaki Galleries (Los Angeles) 1995 Sumner Museum
Seton Hall University Galleries (South Orange, New Jersey) Doizaki Galleries (Los Angeles) 1995 Sumner Museum
Seton Hall University Galleries (South Orange, New Jersey) Doizaki Galleries (Los Angeles) 1995 Sumner Museum

Doizaki Galleries (Los Angeles)

1995

Sumner Museum (Washington, D.C.)

Golden West College Galleries (Huntington Beach, California)

1992

Manhattan East Gallery (New York)

1991

Manhattan East Gallery (New York)

1990

Art in Exile, Manhattan East Gallery (New York)

1974

Foreign Press Club (Rome, Italy)

East Gallery (New York) 1990 Art in Exile , Manhattan East Gallery (New York) 1974 Foreign
East Gallery (New York) 1990 Art in Exile , Manhattan East Gallery (New York) 1974 Foreign

1973

Galleria L’Accento (Rome, Italy)

The brochure contains two poems by Maestro Sebastiano Carta dedicated to the artistis

Galleria L’Accento (Rome, Italy) The brochure contains two poems by Maestro Sebastiano Carta dedicated to the
Galleria L’Accento (Rome, Italy) The brochure contains two poems by Maestro Sebastiano Carta dedicated to the
Galleria L’Accento (Rome, Italy) The brochure contains two poems by Maestro Sebastiano Carta dedicated to the
Galleria L’Accento (Rome, Italy) The brochure contains two poems by Maestro Sebastiano Carta dedicated to the
Galleria L’Accento (Rome, Italy) The brochure contains two poems by Maestro Sebastiano Carta dedicated to the

1973 Galleria La Papessa (Rome, Italy)

1973 Galleria La Papessa (Rome, Italy) Arteni’s works are in numerous private, public and corporate collections.
1973 Galleria La Papessa (Rome, Italy) Arteni’s works are in numerous private, public and corporate collections.
1973 Galleria La Papessa (Rome, Italy) Arteni’s works are in numerous private, public and corporate collections.

Arteni’s works are in numerous private, public and corporate collections.

…seeing signs, hidden meanings, symbols, in the sufferings, the depressions, the dry periods of everyday life. Seeing them and reading them even if they aren't there; if one sees them, one can build a structure and read a message in the formless flow of things and the monotonous flux of historical facts. Mircea Eliade

a structure and read a message in the formless flow of things and the monotonous flux

The dynamic logic of contradiction appears… as the logic of experience, and at the same time, as the experience of logic. Stéphane Lupasco

Publications and Lecture -Demonstrations Since 1974, Arteni has authored over one-hundred radio broadcasts and published papers on art history, the manufacture of artist's materials, the techniques and materials of painting, and aesthetics (phenomenology and systems theory). He has participated in the Congresses of the International Council of Museums (Committee for Conservation), the Deutsches Farbenzentrum, the Chinese Society for Aesthetics, ICMS8 (Gestes, formes et processus signifiants en musique et semiotique interarts), and in numerous other international Symposia and Conferences. Arteni has also participated in the Conferences of and chaired the I.S.F. Section "Lipids in Art" in the United States, England, and France.

in Art" in the United States, England, and France. In recent years, he has lectured on

In recent years, he has lectured on and demonstrated calligraphy (Greek, Sanskrit, Chinese, and Japanese), and participated in workshops in New York (1995 and 1996) ; the Freeman Center for East Asian Studies at Wesleyan University, Middletown, CT (1998) ; Columbia University, New York (1998) ; St. Mark's Library, General Theological Seminary, New York (1999); the New York Hall of Science, New York (2005); and the QCC Art Gallery –CUNY, New York (2006).

(2005); and the QCC Art Gallery –CUNY, New York (2006). He now concentrates his research on

He now concentrates his research on the pictorial fact and procedural switches between formal contextures,

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 ludic ritual

The immediacy of ink splashes spattered on paper creates a constructed void… Zao Wou-Ki

International Art Projects

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.

An excellent opportunity for presenting UNstant was offered by a conference at the University of Reading, U.K., September 2005, on the theme "Transversalities, crossing disciplines, cultures and identities".

Medellin, Colombia, February 2009: an extraordinary meeting of The City Council was held for the
Medellin, Colombia, February 2009: an extraordinary meeting of The City Council was held for the

Medellin, Colombia, February 2009:

an extraordinary meeting of The City Council was held for the purpose of presenting to the public and press the copy of Laudes Creaturarum given to the town by SolInvictus Press

the purpose of presenting to the public and press the copy of Laudes Creaturarum given to
the purpose of presenting to the public and press the copy of Laudes Creaturarum given to

Arteni's one-of-a-kind and limited-edition published books have been widely exhibited:

2005

Image-Word: The Sol Invictus Press 'Laudes Creaturarum', St. Mark's Library, The General Theological Seminary (New York)

Library, The General Theological Seminary (New York) 2004 < Artist’s proof for Laudes Creaturarum Private

2004

Library, The General Theological Seminary (New York) 2004 < Artist’s proof for Laudes Creaturarum Private

< Artist’s proof for Laudes Creaturarum Private Collection, New York

> Artist’s proof for Laudes Creaturarum Private Collection, New York

proof for Laudes Creaturarum Private Collection, New York In Memoriam Daniel Simko. Word as Icon ,

In Memoriam Daniel Simko. Word as Icon, The New York Public Library, Slavic and Baltic Division (New York)

York Public Library, Slavic and Baltic Division (New York) 2000 22 Book Artists, Harper Collins Exhibition

2000

22 Book Artists, Harper Collins Exhibition Space (New York)

1998-1999

“Sign of The Logos”, Artist’s 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.

1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
1998 - April 16, 1999) , St. Mark's Library, The General Theological Seminary (New York). Curated
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting

Apocalypse (album of clay monotypes)

Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting into
Apocalypse (album of clay monotypes) “Arteni…releases the full potential of the clay monotype by cutting into

“Arteni…releases the full potential of the clay monotype by cutting into and shaping the topography of the slab, thereby achieving a complex interaction of planographic, relief , and intaglio effects. Occasionally, the furrows in the clay produce rich effects akin to dry point etching. “ Isaac Gewirtz

intaglio effects. Occasionally, the furrows in the clay produce rich effects akin to dry point etching.
intaglio effects. Occasionally, the furrows in the clay produce rich effects akin to dry point etching.
intaglio effects. Occasionally, the furrows in the clay produce rich effects akin to dry point etching.

1997

Center for Book Arts (New York)

Marymount College (New York)

1996

F. I. R. A. - Forum International de la Reliure d’Art (Montreal, Canada)

Forum International de la Reliure d’Art (Montreal, Canada)

jpg

Soho Biennial (New York)

Center for Book Arts (New York) Paper, Art & the Book September 27 - December 7, 1996

1993

The Armory (New York)

Andrew Melon Auditorium (Washington, D.C.)

The Corcoran Gallery (Washington, D.C.)

Phoenix Public Library (Phoenix, Arizona)

1992

Humphrey Gallery (New York)

D.C.) The Corcoran Gallery (Washington, D.C.) Phoenix Public Library (Phoenix, Arizona) 1992 Humphrey Gallery (New York)
D.C.) The Corcoran Gallery (Washington, D.C.) Phoenix Public Library (Phoenix, Arizona) 1992 Humphrey Gallery (New York)
D.C.) The Corcoran Gallery (Washington, D.C.) Phoenix Public Library (Phoenix, Arizona) 1992 Humphrey Gallery (New York)
D.C.) The Corcoran Gallery (Washington, D.C.) Phoenix Public Library (Phoenix, Arizona) 1992 Humphrey Gallery (New York)
D.C.) The Corcoran Gallery (Washington, D.C.) Phoenix Public Library (Phoenix, Arizona) 1992 Humphrey Gallery (New York)

… I am: and I understand by means of the intellect and by the way of the senses… The beautiful, absolute in itself, becomes embodied only variably and forbearingly. Nicolae Steinhardt

General Background

Stefan Arteni, who sometimes uses the sobriquet Kyosen

Stefan Arteni, who sometimes uses the sobriquet Kyosen (Crazy Hermit), comes from a multicultural background. He

(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 trouvés, 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 contrast through colliding imagery, through recuperation and alteration, and through an ironic reference to and détournement 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.

and suggestive of the structural contradiction inherent in the avantgarde concept itself. Private collection, Rome, Italy
and suggestive of the structural contradiction inherent in the avantgarde concept itself. Private collection, Rome, Italy
and suggestive of the structural contradiction inherent in the avantgarde concept itself. Private collection, Rome, Italy
and suggestive of the structural contradiction inherent in the avantgarde concept itself. Private collection, Rome, Italy
and suggestive of the structural contradiction inherent in the avantgarde concept itself. Private collection, Rome, Italy
and suggestive of the structural contradiction inherent in the avantgarde concept itself. Private collection, Rome, Italy

Private collection, Rome, Italy

Private collection, Sweden Private collection U.S.A.-Spain What form of media—in the most general and generic
Private collection, Sweden Private collection U.S.A.-Spain What form of media—in the most general and generic

Private collection, Sweden

Private collection, Sweden Private collection U.S.A.-Spain What form of media—in the most general and generic sense

Private collection U.S.A.-Spain

What form of media—in the most general and generic sense of the technology of representation, the genre of mediation—would 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.

To use a musical analogy, variations on a formal theme or themes, developmental or metamorphic

variations and improvised variations are at the core of Arteni's work. It is clear that there is a single -

signature in Arteni's work, whatever his subject or style

importance of stylistic consistency and challenges the medium to meet any demand of form. Two or more works may be based on the same hetero-referential construct, which is treated with

different variational techniques, that is to say

tonal variations. The works are characterized by the absence of temporal and geographical markers, which indicates their oneiric quality. The reuse of imagery gives a figurative style an oddly apocalyptic force and bears a similarity to the spirit of the medieval practice of musical contrafacta:

the artist combines sources, models, and methods with improvisation and quasirandomness.

Arteni questions the inherent

compositionally, harmonically, chromatically, or as

The reduplication of the difference between medium and form in forms that in turn can be used as medium…to turn any possible form into the medium of a possible different form and to consider these forms as a calculus on the codependence of marked and unmarked states Dirk Baecker

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.

Exile is a hard walk, an intricate tattoo. Daniel Simko

Works in the Mobile Museum of Art collection, Mobile, Alabama, U.S.A. A few works in
Works in the Mobile Museum of Art collection, Mobile, Alabama, U.S.A. A few works in

Works in the Mobile Museum of Art collection, Mobile, Alabama, U.S.A.

A few works in U.S.A. private collections

To be otherwhere, to be otherwise… Massimo Campigli

Far-Eastern Calligraphy Art

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.

re-valued by juxtaposition and viewed as empty signifier. A New York collector's room dedicated to Arteni's
re-valued by juxtaposition and viewed as empty signifier. A New York collector's room dedicated to Arteni's

A New York collector's room

dedicated to Arteni's work

New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.
New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.
New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.
New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.
New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.
New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.
New York collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A.

A few of Arteni’s calligraphies from an U.S.A. private collection

collector's room dedicated to Arteni's work A few of Arteni’s calligraphies from an U.S.A. private collection

NIHON SHODO GEIJUTSU KYOKAI (JAPAN CALLIGRAPHY ART ASSOCIATION)

Chang Lien Ch’ing (Chang Yü-chao)

|

Miyajima Eishi

\

Hidai Tenrai

/

|

Hidai Nankoku

Kamijo Shinzan

|

Yusho Tanaka (Setsuzan)

|

Stefan Arteni (Geizan)

Arteni’s interest in calligraphy began in high school. He studied with Chinese, Korean, and Japanese teachers, and is now pursuing calligraphy with Professor Yusho Tanaka (Setsuzan), Director of the Department of Calligraphy, Faculty of Literature, Daito Bunka University, Tokyo, one of Japan's foremost Living Masters and president of the Nihon Shodo Geijutsu Kyokai (The Japan Calligraphy Art Association) founded by Professor Kamijo Shinzan, a pupil of Miyajima Eishi and one of Japan's top calligraphers Arteni has been awarded in 2005 the highest rank, SHIHAN (Master Teacher), by The Japan Calligraphy Art Association. It is tradition that the teacher gives the student an art name which points to the student's nature. In 2005 Arteni received the special art name GEIZAN [meaning Art Mountain] from Yusho (Setsuzan) Tanaka Sensei. Arteni was given a part of the Teacher's art name, ZAN [meaning Mountain,] as a symbol of spiritual succession.

The Association traces its lineage to 1887, when a young Miyajima Eishi crossed the sea to study with Chang Lien Ch'ing, a representative Chinese calligrapher who had succeeded in blending all schools of stelae writing into an unique style. Each generation develops new interpretive strategies and searches deep into the meta-artistic logic of visual forms as such or of graphic systems underlying calligraphic styles. Professor Yusho Tanaka (Setsuzan), for example, has ventured into a creative stylistic retrieval of bamboo and wooden strips inscriptions - form becomes the artist's koan.

Setsuzan Sensei and Arteni (the hanging scroll is a calligraphy by Setsuzan Sensei) Setsuzan Sensei

Setsuzan Sensei and Arteni (the hanging scroll is a calligraphy by Setsuzan Sensei)

(the hanging scroll is a calligraphy by Setsuzan Sensei) Setsuzan Sensei and Arteni next to Arteni’s

Setsuzan Sensei and Arteni next to Arteni’s 2005 prize-winning calligraphy

Grasp tradition in one hand and grasp life in the other… Teaching Shi Lu Building

Grasp tradition in one hand and grasp life in the other…

Teaching

Shi Lu

Building upon Hesychast and Zen spirituality, Stefan Arteni also teaches calligraphy: dwelling in art, stilling the mind, enstasis, meditation with the brush.

The paradox is the source, the essence and the meaning. Jean Biès

is the source, the essence and the meaning. Jean Biès He who refuses does not repent.
is the source, the essence and the meaning. Jean Biès He who refuses does not repent.

He who refuses does not repent. Should he be asked again, he would say no again. And yet that no -- the right no -- crushes him for the rest of his life. C.P.Cavafy

Sunday, August 3, 2014 Stefan Arteni's The Way of Form

Sunday, August 3, 2014 Stefan Arteni's The Way of Form

Master Calligrapher Stefan Arteni
Master Calligrapher Stefan
Arteni
Annunciation by Stefan Arteni
Annunciation by Stefan Arteni

Born in Bucharest, educated in Rome, and now working in New York, Stefan Arteni is a painter, printmaker, calligrapher, and book artist, drawing from broad crosscurrents of culture and history. His The Way of Form appeared at the QCC Art Gallery in 2006 and though that was some time ago, a book providing a retrospective is available in the QCC Art Gallery Gift Shop.

Entre Rascacielos Commemorative Edition, Vol.23, April 2014
Entre Rascacielos Commemorative Edition, Vol.23, April 2014

Entre Rascacielos Commemorative Edition, Vol.23, April 2014

The Day , April 15, 2014 [Arteni’s calligraphy is reproduced in an article about the

The Day, April 15, 2014 [Arteni’s calligraphy is reproduced in an article about the Art of Ink exhibition 2014.]

The Day , April 15, 2014 [Arteni’s calligraphy is reproduced in an article about the Art
알암서예전과 국제현대서예전 김상준 ( 뉴저지상록회 편집장 )
알암서예전과 국제현대서예전 김상준 ( 뉴저지상록회 편집장 )

알암서예전과 국제현대서예전

김상준(뉴저지상록회 편집장)

입력일자: 2013-12-03 () Published: 2013-12-03 (Tuesday)

현재 알암 이유성 회장의 서예전이 퀸즈칼리지 Godwin Ternbach Museum에서 열리고 있다. 전시회 개막에서는 서 예의 아름다움, 획의 변화와 다양성, 서예의 정신세계 등에 관한 설명이 있었다.

이날 전시회에서 느낀 점은 이제는 동양 서예의 조형미가 국제적 관심을 끌면서 주관객이 서양인이라는 사실이었 다. 그리고 한글서예도 한류의 지구촌 전파에 이미 편승, 한글의 우수함과 독창성, 그리고 묵향의 가치가 세계에 스 며들고 있음을 눈으로 여실히 확인했다는 점이다.

이날 전시회에서는 한국 전통문화에 걸맞게 한국고유의 무용과 거문고와 해금 등의 전통악기, 그리고 노래 아리랑등이 서예의 묵향과 어우러져 한국문화의 정수를 보여주었다. 이어 이어진 작가특유의 기량을 지닌 작가들의 대붓 을 이용한 Stefan Artenifloor 퍼포먼스와 영어붓글씨 종서(세로쓰기) 등의 필치시연( brush demonstration)은 참관인들의 관심을 집중시키기에 충분했다.

몸짓, 그리고 그 이상(Gesture & Beyond )’을 주제로 한 이번 서예전은 2층에서 열리는 이유성 회장의 알암 한글서 예전(개인전)과 뮤지엄 1층 갤러리에서 미국과 한국을 비롯 , 독일, 프랑스, 이탈리아, 루마니아, 한국, 중국, 일본, 등지에서 참가한 작가 32인의 작품 50점의 국제현대서예전으로 열리고 있다.

개인전에서는 50년 전(1963), 그의 국전출품작 오우가를 비롯, 지난 20년간 뉴욕에서 활동하며 시도한 서예작품 들과 추상적 기법의 한글서예 작품이 관람객을 맞고 있다.2층 전시도 호응이 좋아 오는 1230일까지로 연장했다 고 한다. 아직도 보지 못한 분들은 모두 찾아가 관람하기를 권한다.

http://www.artfixdaily.com/artwire/release/8120- gesture-and-beyond-the-art-of-ink-in-america-2013- 14 Gesture and Beyond:

14

Gesture and Beyond: The Art of Ink in America

2013/14

NEW LONDON, Connecticut -- 20 February 2014

America 2013/14 NEW LONDON, Connecticut -- 20 February 2014 Stefan Arteni, "The Fourfold“

Stefan Arteni, "The Fourfold“ http://www.artfixdaily.com/images/

Stefan Arteni’s essays have been cited in: Ronny Julius C Verlet, Semiotics: Life of Signs.
Stefan Arteni’s essays have been cited in: Ronny Julius C Verlet, Semiotics: Life of Signs.

Stefan Arteni’s essays have been cited in:

Ronny Julius C Verlet, Semiotics: Life of Signs.

Part2.

Julius C Verlet, Semiotics: Life of Signs. Part2. http://www.scribd.com/doc/217714528/Semiotics -Life-of-Signs-Part-2
Julius C Verlet, Semiotics: Life of Signs. Part2. http://www.scribd.com/doc/217714528/Semiotics -Life-of-Signs-Part-2
Julius C Verlet, Semiotics: Life of Signs. Part2. http://www.scribd.com/doc/217714528/Semiotics -Life-of-Signs-Part-2
Printre picaturi. Notite estivale (II) UN ARTICOL DE

NR. 433 din 15-August-2013

Perspectiva „eroica“, „epopeica“, „activa“, „luptatoare“, care tradeaza sau macar altereaza substanta marelui text mioritic, nu a parasit nicicând exegeza acestuia, desi înscrierea sa în orizontul estetico-filosofic pare a prevala. O demonstratie în acest sens, în sinteza profesorului iesan Petru Ursache, „Miorita. Dosarul mitologic al unei Capodopere“. Cu ilustratii si Postfata de Stefan Arteni, Editura Opera Magna, Iasi, 2013. Daca discursul universitarului de la Iasi, erudit, neliniar, sincopat pe alocuri, ferm în judecatile/prejudecatile sale, curajos în apropieri si echivalari neasteptate, original si repetitiv în acelasi timp, prea exigent cu unii confrati pe care îi ignora cu gratie si prea îngaduitor cu altii, îsi caracterizeaza foarte bine autorul, surpriza vine de la graficianul Stefan Arteni care însoteste exegeza ursacheiana cu o serie de compozitii digitale extrem de expresive, în care un ochi dibaci poate descifra trimiteri la „Miorita eterna“ (p. 211), în care îmi pare a descoperi o imagine foto (digitala, desigur) a celebrului mozaic realizat de Milita Petrascu pe peretii exteriori ai fântânii Miorita din Bucuresti, opera arhitectului Octav Doicescu, sau la personaje ale bestiarului mitologic evocate de etnolog în discursul sau (p. 57). Iar discursul plastic are si o sustinere teoretica, adaugând o dimensiune deloc neglijabila interpretarii „baladei“ – dimensiunea antropologica, cu generalitati antropofilosofice („Orice comunitate este calauzita de o viziune despre lume si se afla într-o relatie definita cu întregul si cu sine. Aceasta înseamna ca omul trebuie întotdeauna sa fie înradacinat într-o structura a convingerilor si a ordinii. Asadar, înainte de toate, omul se afla în cultura si este purtator de cultura“) si aduceri la zi în limitele bunului simt si bunului gust, pledând pentru o hermeneutica de adâncime a acestui „palimpsest al ruinelor“.

PETRU URSACHE

PETRU URSACHE PETRU URSACHE Etnolog, estetician si istoric literar Născut la 15 mai 1931, în comuna

PETRU URSACHE Etnolog, estetician si istoric literar Născut la 15 mai 1931, în comuna Popesti, jud. Iasi). Date personale Absolvă Liceul National Iasi în 1951, apoi Facultatea de Filologie a Universitătii „Al. I. Cuza” (1952 1956), licentiat în limba si literatura română. Doctor în Filologie (1971), conducător de doctorate, disciplina Etnologie. Bibliotecar la Biblioteca judeteană „Gh. Asachi” (1956 – 1958), preparator – asistent (1958 – 1960), lector (1960 – 1977), conferentiar (1977 – 1992), profesor (1992 – 2001) la Catedra de Literatură română si la Catedra de Literatură comparată.

The USR presentation of Petru Ursache reproduces Stefan Arteni’s 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 Bosé; 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 Pérez. "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 José 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 Apóstol, 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 José Galindo, Ellen Gallagher, Mary Heilmann , Christian Holstad , Roni Horn, Guillermo Kuitca, Runo Lagomarsino, Adriana Lara, An-My Lê, Paul Lee, Almudena Legorreta, Lovett/ Codagnone, Luis Mallo, Margarita Marino, Sean Mellyn, Steven Mendal, Iván Navarro, Christopher Orr, Ana Patricia Palacios, Carlos Reynoso, Patricia Rincón Mautner, Pipilotti Rist, Emilio Sánchez, Wilbert Sánchez Montes de Oca, Fanny Sanín, Horacio Sapere, Wilhelm Sasnal, Alexandra Seegers, Federico Serrano, Jorge Tacla, Juergen Teller and Jakub Julian Ziolkowski.

http://www.aidforaids.org/index.php/site/donate_modalities/events/ WORKS IN AU C TION Arteni Stefan The Return of
WORKS IN AU C TION Arteni Stefan The Return of Ulysses,

WORKS IN AUCTION

WORKS IN AU C TION Arteni Stefan The Return of Ulysses, undated. Gouache on

The Return of Ulysses, undated. Gouache on paper 30 1/4 x 22 1/4 inches Courtesy of the artist

5,000.00

USD

(Stefan Arteni and Sebeok, Peirce, Eco, etc.)

New York Public Library Stephen A. Schwarzman Building New York, NY 10018 United States Details

New York Public Library Stephen A. Schwarzman Building New York, NY 10018 United States

Details

Genre/Form:

Artists' books Translations into English Poetry

Named Person:

Stefan Arteni

Document Type:

Book

All Authors / Contributors:

OCLC Number:

727829389

Notes:

"Original linoleum cuts by Stefan Arteni. Design, mounting and handmade drop-spine box by Myriam S.P. de Arteni Artist's Web site, retrieved May 27, 2011. Title from beginning of English translation of the haiku. Name of publisher from label on case; place of publication from Stefan Arteni's Web site, retrieved May 27, 2011. Printed as a continuous sequence of images, calligraphy in Japanese, and English translation and publication information. Linocut throughout; printed on one side of a strip (120 x 30 cm.) folded accordion-style to form 6 p.

Edition of 9"--

Description:

1 folded sheet ([6] p.) : all ill. ; 31 cm.

Other Titles:

Baka neko.

Baka neko

Responsibility:

by Issa ; translated by L. Mackenzie ; design by M.S.P. De Arteni ; calligraphy & linocuts by S. Arteni.

Laudes creaturarum (Book) 1182-1226. Title: Laudes creaturarum / San Francesco d'Assisi. Publisher, Date: [Jackson

Laudes creaturarum (Book)

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

by Francis, 1182-1226. Author: Francis, of Assisi, Saint,

1 of 1 available systemwide, with no current holds. Location and Availability Burton Barr Central Library — 1 of 1 available

Call Number Status REF 851.1 F847L 1992

- Rare Book Room Vault

Info about Paolo Veneziano Stefan Arteni Perspective as Form and Medium 07 Revised . Perspective as Form and Medium and the Interplay of Proportion Systems and Perspective VII . SolInvictus Press 2006 . Visual Parallels . Anonymous, 13th century, stained glass window . Peter Paul Rubens . Diagram by Charles Bouleau . Roman mosaic . Istanbul, Aya Sofya decoration, (Photo Dick Osse Link: http://www.scribd.com/doc/45164095/Stefan-Arteni-Perspective-as-Form-and-Medium-

Stefan Arteni Perspective as Form and Medium 07 Revised di Ventura) . Lorenzo di Credi . Russian Icon . Stefan Arteni . Anonymous Flemish master . Luca Signorelli Link: http://www.scribd.com/doc/45164095/Stefan-Arteni-Perspective-as-Form-and-Medium-

Stefan Arteni Painting as Polycontexturality God is the artificer of man, man the . god of artifacts . The work of visual art suspends textuality s hold, puts logocentrism in question . A pictorial event is untranslatable, it refuses to be paraphrased minutely, its discovery is bound to a tense visualconstruction . A mark intended as indicator Link: http://www.stefanarteni.net/writings/Polycontexturality/Polycontexturality.html

Stefan Arteni Emergence The present essay is not the place, nor has it the space, to do more than try to sketch a brief outline of a possible inquiry into the survival and pseudomorphic appropriation of Byzantine artistic practices from Theophanes the Greek through El Greco to Serge Poliakoff . Aside from everything else t Link: http://www.stefanarteni.net/writings/Emergence/Emergence.html

Saatchi Online Artist Profile: Stefan Arteni; NY; saatchionline.com/wayofform Stefan C . Arteni . 1981 . In: Atti del Education Stefan Arteni, who sometimes uses the sobriquet Kyosen (Crazy Link: http://www.saatchionline.com/wayofform

Stefan Arteni . The E-C European Model . 4.The Avantgarde and [

]

operates under the spell of a Marxist obsession . Stefan Arteni . The East-Central

StefanArteni TheEastCentralEuropeanCulturalModel 2009 05 the Animals, Roman mosaic, Shaba Museum, Syria . Stefan Arteni The East-Central European Cultural Model (a [ 1215 . Stefan Arteni The East-Central European Cultural Model . 5 Link: http://www.scribd.com/doc/31354394/StefanArteni-TheEastCentralEuropeanCulturalMo

]

V . God The Geometer, Bible Moralisee,

http://www.deutschefotothek.de/kue70004721.html Arteni, Stefan Künstler-Datensatz 70004721 * 1947 in

Arteni, Stefan Künstler-Datensatz 70004721 * 1947 in RumänienCollagekünstler, Maler, Mixed-Media-Künstler

Nachweisland: Vereinigte StaatenSchlagwörter: Collage & Malerei & Mixed Media - collage & painting & mixed media Datensatz-Urheber: SLUB/ConArt - Contemporary Artists

Permalink:http://www.deutschefotothek.de/kue70004721.html

http://www.super-gostovanje.eu/?q=PHENOMENOLOGY Stefan Arteni Stefan Arteni is an artist and writer living in New York City. http://www stefanarteni net/

Arteni, Stefan Stefan Arteni http://www.stefanarteni.net/

Showcases the artist's work in Japanese calligraphy and painting and Sol Invictus Press, which creat

essays on art related top

ics.

es one of a kind artist's books. Lists exhibitions, collections and recent

Stefan Arteni is an artist and writer living in New York City.

Stefan Arteni, calligraphy, scroll painting, calligraphic, Arteni, Artini, Stephan, Japanese calligr

heidegger, luhma

nn, husserl, de stael, zao wou-ki

stefan, arteni

(SLD : stefanarteni.net) Arts/Visual_Arts/Personal_Pages/A

aphy, shodo, artist's books, book arts, livres d'artiste, semiotic, phenomenology,

Serving History World History Served Up Daily

Polycontexturality

Related Resources :: Polycontexturality On the General Ontological Foundations of Conceptual Modelin - Following Gunther s work I developed a complex philosophical and mathematical theory of interactivity in the framework of polycontexturality, developing and using Stefan Arteni Painting as Polycontexturality - Painting as Polycontexturality. A Collage of Commented Reading Notes. by Stefan Arteni: On Painting Otherwhere Otherwise Painting, Image Likeness PCL Homepage - Welcome to ThinkArt Lab! - The following lines give a very brief overview of some of the central ideas of Polycontexturality. It is not meant as an indroduction to Polycontexturality. Publications full text in English - Goethe-Universit t - Constitutionalising Polycontexturality. Social and Legal Studies 19, 2011, 17-38. Fragmented Foundations:

Societal Constitutionalism Beyond the Nation State.

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

THIERRY M. MARTINEZ cites Arteni’s paper Shodo on

new: www.beying.com/ereignis4.html [cites Arteni’s 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 Arteni’s paper Painting as Polycontexturality]

Arteni has been cited in: Rudolf Kaehr, Which equality? www.thinkartlab.com/pkl/media/Equality/Equality.pdf:

www.thinkartlab.com/pkl/media/Equality/Equality.pdf: Rudolf Kaehr, a student of Gotthard Guenther, heads the

Rudolf Kaehr, a student of Gotthard Guenther, heads the ThinkArt Lab at the TransComputation Institute in Glasgow, Scotland

Arteni has been cited in:

A Tale of Fishes, Birds and Diamonds in Second-Order Epistemology

Why it is useless to write about the mono-contexturality of alphabetism and digitalism

2.7. Double-faces in real-world constellations

Self-descriptions of double-faced experiences are not always easy to grasp. The multi-cultured17artist "An artist's split between cultures becomes a potential means of deautomatizing worn- out formal devices, a strategy of inserting and asserting, of uprooting and

defamiliarizing formal contextures. In a true sense the process exhibits a polycontextural stylistic matrix and a distributed artistic identity - one runs across the terms heterarchy, contexture, polycontexturality, transjunction and kenogrammatics in Gotthard Guenther’s transclassic logic investigations. Polycontextural systems apply different codes of self-observation related to different observation positions.” (Arteni)

From Glory to Glory The Sophianic Vision of Fr Sergius Bulgakov in Context of Tradition

From Glory to Glory The Sophianic Vision of Fr Sergius Bulgakov in Context of Tradition by Robert Thompson

Robert F. Thompson cites Arteni’s ebook The Form of the Form :

From Glory to Glory: The Sophianic Vision of Fr. Sergius Bulgakov in Context of Tradition Robert F. Thompson Submitted to the faculty in partial response to requirements for completion of the M.A.R. degree in Theology at Memphis Theological Seminary, Memphis,Tennessee, May 2010

at Memphis Theological Seminary, Memphis,Tennessee, May 2010
at Memphis Theological Seminary, Memphis,Tennessee, May 2010

Troy Harris [Buddhist name: Sritantra] ascetic, artist, researcher, poet, painter

I am currently composing an abstract monograph, not on or about but very near to the life and work of Rene Laubies, accounting for his legacy by calling into play a radical Euro-decentering effusion of cultural hybridity essential to the patterning of his own looming art.

Methodological pose: a hermeneutics of 'wayfaring,' flâneur and dap.

Rene's "final" work: towards a global art analysis (draft2) Broadly speaking, calligraphy holds dissimilar social status in Eastern and Western art historical cultures. 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 image and reflection, idea and word, for that matter, between presentation and representation.

What is more, in our present globalizing academic sense at least, painting isn't necessarily even considered "painting" but more an extension of writing (écriture), which covers simultaneously images and letters, and thereby makes such terms as "letter" and "image" remarkably 'irrelevant in stricto senso' (Inaga, 2007: 266).

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 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 as an aspect of 'Rhetoric' and thereby subsumed it under 'Word' (Arteni, 2001). Now if the inverse proposal also holds true, then what shall be made of an artist's letters or even incoherently scribbled notes? Would not these items form a part of the artist's corpus of "paintings"?

Full-bodied questions start to emerge in regard to our subject's final composition.

Question 1: Where from Laubies, East or West?

If East wins out, then the following comes to surface.

Question 2: What constitutes Rene Laubies's true "final" work?

In October 2007 Arteni received a few emails from Sritantra.Sritantra wrote:

“I first came across your online work more than two years ago…My more recent studies in Art History and Criticism have enabled me better to understand and appreciate the scope and penetration of your vision… Your work is valuable particularly as the testament of a philosopher artist…”

I shall return to these questions as soon as possible.

References

Arteni, Stefan. 2001. Painting, Image, Likeness.

Inaga, Shigemi. 2007 "Is Art History Globalizable? A critical commentary from a far Eastern Point of view," in Elkins (ed.), Is Art History Global?, 2007: 249-279). [In the Far East traditions,] "calligraphy" and "painting" (shûhua/shoga) is a single classification category in the conservation of cultural properties. When the European academic definitions of fine arts was introduced in Japan in the 1880s, it provoked harsh controversy. The question of whether calligraphy whould be 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 Arteni’s works may be viewed on the website of the SAATCHI GALLERY DUKE OF YORK HQ, London, U.K:

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 :

Arteni’s digital artist’s book, The Return of Ulysses.

A selection of Arteni’s paintings and collages may be viewed on Quark/Galerie de artă [http://www.quark-press.ro/site.php?document=

MainFrameDoc&elementID=20826]

GUTENBERG’S ARK, Iaşi, October 15, 2016

GUTENBERG’S ARK, Iaşi, October 15, 2016

BOOKFEST, Cluj-Napoca, September 29, 2016

BOOKFEST, Cluj-Napoca, September 29, 2016

Editorial Salon, Târgovişte, September 8, 2016

Editorial Salon, Târgovişte, September 8, 2016

GAUDEAMUS Book Fair, Mamaia, August 11, 2016

GAUDEAMUS Book Fair, Mamaia, August 11, 2016

BOOKFEST, Bucharest, June 2, 2016

BOOKFEST, Bucharest, June 2, 2016

GAUDEAMUS Book Fair, Oradea, May 18, 2016

GAUDEAMUS Book Fair, Oradea, May 18, 2016

GAUDEAMUS Book Fair, Cluj-Napoca, April 20, 2016

GAUDEAMUS Book Fair, Cluj-Napoca, April 20, 2016

GAUDEAMUS Book Fair, Craiova, February 27-28, 2016
GAUDEAMUS Book Fair, Craiova, February 27-28, 2016

GAUDEAMUS Book Fair, Craiova, February 27-28, 2016

National Culture Day - Piatra Neamt , January 13, 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 Româneşti, Eikon, Bucureşti, 2016

of Professor Petru Ursache) are reproduced in PETRU URSACHE, Omul Bun Al Culturii Româneşti, Eikon, Bucureşti,
of Professor Petru Ursache) are reproduced in PETRU URSACHE, Omul Bun Al Culturii Româneşti, Eikon, Bucureşti,
of Professor Petru Ursache) are reproduced in PETRU URSACHE, Omul Bun Al Culturii Româneşti, Eikon, Bucureşti,
of Professor Petru Ursache) are reproduced in PETRU URSACHE, Omul Bun Al Culturii Româneşti, Eikon, Bucureşti,
of Professor Petru Ursache) are reproduced in PETRU URSACHE, Omul Bun Al Culturii Româneşti, Eikon, Bucureşti,
of Professor Petru Ursache) are reproduced in PETRU URSACHE, Omul Bun Al Culturii Româneşti, Eikon, Bucureşti,

GAUDEAMUS - Book Fair, Bucharest ,

November 20,

2015

GAUDEAMUS - Book Fair, Bucharest , November 20, 2015

LIBRIS Book Fair, Piatra Neamt , September 17,

2015

LIBRIS Book Fair, Piatra Neamt , September 17, 2015

AXIS LIBRI Book Fair, Galati , May 27, 2015

AXIS LIBRI Book Fair, Galati , May 27, 2015

GAUDEAMUS Book Fair, Cluj-Napoca , April 24, 2015

GAUDEAMUS Book Fair, Cluj-Napoca , April 24, 2015

LIBRIS Book Fair, Brasov - March 19, 2015

LIBRIS Book Fair, Brasov - March 19, 2015

LIBREX Book Fair, Iasi - March 11, 2015

LIBREX Book Fair, Iasi - March 11, 2015
Petru Ursache, Miorita, Dosarul Mitologic Al Unei Capodopere (Afterword by Stefan Arteni), Eikon, Bucureşti, 2015

Petru Ursache, Miorita, Dosarul Mitologic Al Unei Capodopere (Afterword by Stefan Arteni), Eikon, Bucureşti, 2015 [one of Arteni’s digital compositions is reproduced on the front cover]

City Forest Book Fair, Bucharest -

December 21,

2014

City Forest Book Fair, Bucharest - December 21, 2014

Focsani - December 11, 2014

Focsani - December 11, 2014

Iasi - December 10, 2014

Iasi - December 10, 2014

GAUDEAMUS Book Fair, Bucharest -

November 22,

2014

GAUDEAMUS Book Fair, Bucharest - November 22, 2014
Petru Ursache, Gastrosofia sau Bucataria Vie , Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions

Petru Ursache, Gastrosofia sau Bucataria Vie, Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions is reproduced on the front cover]

Petru Ursache, Antropologia, O Stiinta Neocoloniala , Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions

Petru Ursache, Antropologia, O Stiinta Neocoloniala, Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions is reproduced on the front cover]

Petru Ursache, Moartea Formei , Eikon, Cluj-Napoca, 2014 [two of Arteni’s digital compositions are reproduced

Petru Ursache, Moartea Formei, Eikon, Cluj-Napoca, 2014 [two of Arteni’s digital compositions are reproduced on the front and back covers]

Petru Ursache, Etnofrumosul , Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions is reproduced on

Petru Ursache, Etnofrumosul, Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions is reproduced on the front cover]

Petru Ursache, Etnoestetica , Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions is reproduced on

Petru Ursache, Etnoestetica, Eikon, Cluj-Napoca, 2014 [one of Arteni’s digital compositions is reproduced on the front cover]

Petru Ursache, Etnosofia , Eikon, Cluj-Napoca, 2013 [two of Arteni’s digital compositions are reproduced on

Petru Ursache, Etnosofia, Eikon, Cluj-Napoca, 2013 [two of Arteni’s digital compositions are reproduced on the front and back covers]

Petru Ursache, Miorita, Dosarul mitologic al unei Capodopere , Opera Magna, Iasi, 2013 [Arteni’s compositions
Petru Ursache, Miorita, Dosarul mitologic al unei Capodopere , Opera Magna, Iasi, 2013 [Arteni’s compositions

Petru Ursache, Miorita, Dosarul mitologic al unei Capodopere, Opera Magna, Iasi, 2013 [Arteni’s compositions are reproduced on the covers and as illustrations]

Magda Ursache, Vietile Cartarilor Contimporani, 2012 Arteni’s digital portrait of the writer Magda Ursache is

Magda Ursache, Vietile Cartarilor Contimporani, 2012 Arteni’s digital portrait of the writer Magda Ursache is reproduced on the cover

Petru Ursache, Omul din Calidor , 2012 [five of Arteni’s digital compositions are reproduced as

Petru Ursache, Omul din Calidor, 2012 [five of Arteni’s digital compositions are reproduced as illustrations and on front cover]

Petru Ursache, Omul din Calidor , 2012 [five of Arteni’s digital compositions are reproduced as
Petru Ursache, Omul din Calidor , 2012 [five of Arteni’s digital compositions are reproduced as
Petru Ursache, Omul din Calidor , 2012 [five of Arteni’s digital compositions are reproduced as
Petru Ursache, Omul din Calidor , 2012 [five of Arteni’s digital compositions are reproduced as

Petru Ursache, Omul din Calidor,

2012

[five of Arteni’s digital compositions are

reproduced as illustrations and on front cover]

Ardealul Literar, Year XIV, Nr.1 (52)/2012 [two of Arteni’s paintings are reproduced on the covers/

Ardealul Literar, Year XIV, Nr.1 (52)/2012 [two of Arteni’s paintings are reproduced on the covers/

Ardealul Literar, Year XIV, Nr.1 (52)/2012 [two of Arteni’s paintings are reproduced on the covers/
ARGES, Year XI (XLVI), nr. 11 (353), November 2011, published by Centrul Cultural Pitesti [a

ARGES, Year XI (XLVI), nr. 11 (353), November 2011, published by Centrul Cultural Pitesti [a work by Arteni illustrates Mihai Rogobete’s article]

ARGES, Year XI (XLVI), nr. 8 (350), August 2011, published by Centrul Cultural Pitesti [a

ARGES, Year XI (XLVI), nr. 8 (350), August 2011, published by Centrul Cultural Pitesti [a work by Arteni illustrates Mihai Rogobete’s article]

ARGES, Year XI (XLVI), nr. 7, July 2011, published by Centrul Cultural Pitesti [a work by Arteni illustrates Mihai Rogobete’s article]

ARGES, Year XI (XLVI), nr. 6, June 2011, published by Centrul Cultural Pitesti [a work by Arteni illustrates Mihai Rogobete’s article]

ARGES, Year XI (XLVI), nr. 5, May 2011, published by Centrul Cultural Pitesti [a work

ARGES, Year XI (XLVI), nr. 5, May 2011, published by Centrul Cultural Pitesti [a work by Arteni illustrates Mihai Rogobete’s article]

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are reproduced on the covers in color; 48 of Arteni’s 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 Arteni’s works are

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are reproduced on the covers in color; 48 of Arteni’s 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 Arteni’s works are

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are reproduced on the covers in color; 48 of Arteni’s 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 Arteni’s works are

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are reproduced on the covers in color; 48 of Arteni’s 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 Arteni’s works are

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are reproduced on the covers in color; 48 of Arteni’s 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 Arteni’s works are

PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Arteni’s works are reproduced on the covers in color; 48 of Arteni’s works are reproduced as black and white illustrations] www.pro-saeculum.ro

Arteni’s digital portrait of the writer Magda Ursache, ACOLADA, January 2010
Arteni’s digital portrait of the writer Magda Ursache, ACOLADA, January 2010
Arteni’s digital portrait of the writer Magda Ursache, ACOLADA, January 2010

Arteni’s digital portrait of the writer Magda Ursache, ACOLADA, January 2010

Magda Ursache, Sa Cititi Bine!, 2010 Arteni’s digital portrait of the writer Magda Ursache is

Magda Ursache, Sa Cititi Bine!, 2010 Arteni’s digital portrait of the writer Magda Ursache is reproduced on the cover

Petru Ursache, Short Treatise on Theological Aesthetics , second edition, 2009 [two of Arteni’s works
Petru Ursache, Short Treatise on Theological Aesthetics , second edition, 2009 [two of Arteni’s works
Petru Ursache, Short Treatise on Theological Aesthetics , second edition, 2009 [two of Arteni’s works
Petru Ursache, Short Treatise on Theological Aesthetics , second edition, 2009 [eight of Arteni’s works
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]

CONVORBIRI LITERARE, October 2009, Iassy [ten of Arteni’s works are reproduced as illustrations]

SPATII CULTURALE, nr.6/September-October 2009, Ramnicu-Valcea, reproduces Arteni’s digital portrait of the writer Magda Ursache,

http://spatiiculturale.50gigs.net/6-

2009/INTERVIU.htm

Arteni’s 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 [Arteni’s Udigma article is illustrated with a digital selfportrait]

2009, published by Centrul Cultural Pitesti [Arteni’s Udigma article is illustrated with a digital selfportrait]
2009, published by Centrul Cultural Pitesti [Arteni’s 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
Sorin Parvu, general coordinator, A DICTIONARY OF NORTH-AMERICAN WRITERS.VOL I. A, European Institute and Centre

Sorin Parvu, general coordinator, A DICTIONARY OF NORTH-AMERICAN WRITERS.VOL I. A, European Institute and Centre d’Etudes Canadiennes, Iassy, 2008 (the Dictionary lists also North-American visual artists)

POSTMODERNISM(E), no. 1-2, 2009, European Institute, Iassy [six of Arteni’s works are reproduced as illustrations

POSTMODERNISM(E), no. 1-2, 2009, European Institute, Iassy [six of Arteni’s works are reproduced as illustrations and one work is reproduced on the cover ]

Institute, Iassy [six of Arteni’s works are reproduced as illustrations and one work is reproduced on
Institute, Iassy [six of Arteni’s works are reproduced as illustrations and one work is reproduced on
POSTMODERNISM(E), no. 1-2, 2009, European Institute, Iassy [six of Arteni’s works are reproduced as illustrations
POSTMODERNISM(E), no. 1-2, 2009, European Institute, Iassy [six of Arteni’s works are reproduced as illustrations

POSTMODERNISM(E), no. 1-2, 2009, European Institute, Iassy [six of Arteni’s works are reproduced as illustrations and one work is reproduced on the cover ]

Institute, Iassy [six of Arteni’s works are reproduced as illustrations and one work is reproduced on
Institute, Iassy [six of Arteni’s works are reproduced as illustrations and one work is reproduced on

www.davidould.net/ /christs_descent_to_hades [David Ould, an Englishman who studies at Moore Theological College in Sydney, wrote an essay entitled Christ’s Descent to Hades. Arteni’s Anastasis has been used as illustration]

in Sydney, wrote an essay entitled Christ’s Descent to Hades. Arteni’s Anastasis has been used as
Somebody viewed Arteni’s website and pinned a few works http://www.picstopin.com/300/stefan- arteni-
Somebody viewed Arteni’s website and pinned a few works http://www.picstopin.com/300/stefan- arteni-

Somebody viewed Arteni’s website and pinned a few works

Maxime Martinez posted an album of reproductions of Arteni’s works:

mardi 19 août 2008 Zen Transfiguration

mardi 19 août 2008 Zen Transfiguration Traces d'un passage et réminiscences Maxime Martinez La Sainte

Traces d'un passage et réminiscences Maxime Martinez

La Sainte Transfiguration par Stefan Arteni Stefan Arteni quand il veut effectuer ce passage du Zen au Christianisme ne peut que trouver l'Hagiographie (ou iconographie) orthodoxe et il ne peut que s'intéresser à la Prière de Jésus à laquelle il a consacré un album. Parce que comme la calligraphie japonaise ou chinoise, l'Hagiographie est écriture (écriture sainte et écriture du sacré) pas la peinture occidentale dite religieuse, ou à thème religieux. De même que la calligraphie est méditation, l'Hagiographie est prière. De même que la calligraphie et l'art pictural qui en découle, l'Hagiographie orthodoxe sont action et méditation en même temps. Le calligraphe médite avant son art comme l'iconographe prie avant de se mettre au travail. Corps, âme et esprit sont en mouvement sans division, sans séparation dans la réceptivité de l'Indicible, de l'Innommable, dans le paradoxe de l'Irreprésentable, dans la célébration du Sacré. Quand il y a communication entre calligraphie (la belle écriture du Beau) et l'Hagiographie la Lumière n'y perd pas, elle est vue à travers un autre prisme mais c'est toujours la Lumière…

[reproduces Arteni’s Transfiguration]

mardi 23 décembre 2008 Maxime Martinez

Stefan Arteni m'a envoyé cette belle carte dans le style de son travail "calligraphiconique" je vous l'offre à mon tour :

je vous l'offre à mon tour : http://orthodoxe-ordinaire.blogspot.com/search?q=arteni

http://orthodoxe-ordinaire.blogspot.com/search?q=arteni [reproduces Arteni’s Nativity compositions]

五言古詩

張九齡

感遇其四

江南有丹橘, 經冬猶綠林; 豈伊地氣暖? 自有歲寒心。 可以薦嘉客, 奈何阻重深? 運命惟所遇, 循環不可尋。 徒言樹桃李, 此木豈無陰?

Five-character-ancient-verse Zhang Jiuling ORCHID AND ORANGE II

Here, south of the Yangzi, grows a red orange tree. All winter long its leaves are green, Not because of a warmer soil, But because its' nature is used to the cold. Though it might serve your honourable guests, You leave it here, far below mountain and river. Circumstance governs destiny. Cause and effect are an infinite cycle. You plant your peach-trees and your plums, You forget the shade from this other tree.

Somebody [Shitao is a pseudonym] viewed Arteni’s website and commented on the calligraphies and on the calligraphic paintings on paper by means of the above poem posted on http://shitao.stumbleupon.com/tag/orchid/ One of Arteni’s paintings has been reproduced

of the above poem posted on http://shitao.stumbleupon.com/tag/orchid/ One of Arteni’s paintings has been reproduced

ARGES, Year VIII (XLIII), nr. 446 (314), August 2008, published by Centrul Cultural Pitesti [two digital works by Arteni illustrate Mihai Rogobete’s short stories]

2008, published by Centrul Cultural Pitesti [two digital works by Arteni illustrate Mihai Rogobete’s short stories]
2008, published by Centrul Cultural Pitesti [two digital works by Arteni illustrate Mihai Rogobete’s short stories]

LUCEAFARUL, Year XVI, nr.8(797), Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro

Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro

LUCEAFARUL, Year XVI, nr.8(797), Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro

Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro
Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro
Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro
Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro
Wednesday, March 12, 2008, published under the aegis of the Romanian Writers’ Association, www.revistaluceafarul.ro

ORIENT LATIN, nr. 3, March 2008

ORIENT LATIN, nr. 3, March 2008

PARADIGMA XXI, February 2008, nr.2 (16), published by Quark Press, www.quark-press.ro

PARADIGMA XXI, February 2008, nr.2 (16), published by Quark Press, www.quark-press.ro

PARADIGMA XXI, February 2008, nr.2 (16), published by Quark Press, www.quark-press.ro

PARADIGMA XXI, February 2008, nr.2 (16), published by Quark Press, www.quark-press.ro

PARADIGMA XXI, February 2008, nr.2 (16), published by Quark Press, www.quark-press.ro

PARADIGMA XXI, February 2008, nr.2 (16), published by Quark Press, www.quark-press.ro

QUARK PRESS

www.quark-press.ro

Quark / Biblioteca virtuală / continuare The Return of Ulysses 3 (pdf) The Return of Ulysses
virtuală / continuare The Return of Ulysses 3 (pdf) The Return of Ulysses 4 (pdf) Autor:
The Return of Ulysses 3 (pdf) The Return of Ulysses 4 (pdf) Autor: Ştefan Arteni Editura:

Autor:

Ştefan Arteni

Editura:

SolInvictus Press

Apariţie: 2007

Autor:

Ştefan Arteni

Editura:

SolInvictus Press

Apariţie: 2007

Balcanii si Europa nr.73 din 2007 Români în lume "Scoala Brâncuşi" În capitala Franţei au

Balcanii si Europa nr.73 din 2007 Români în lume "Scoala Brâncuşi"

În capitala Franţei au avut loc o serie de manifestări, sub egida UNESCO, dar şi a Ligii Culturale pentru Unitatea Românilor de Pretutindeni, cu ocazia împlinirii a 50 de ani de la trecerea în nemurire a lui Constantin Brâncuşi, olteanul din Hobiţa, devenit cetăţean al lumii. La Centrul Artei Contemporane "George Pompidou" din Paris, a fost reconstituit întocmai atelierul său, lăsat în întregime statului francez, după ce autorităţile de la Bucureşti l-au refuzat cu mai bine de 50 de ani în urmă. Cu regretul de a nu fi fost înţeles în ţara natală, marele artist mărturisea pe patul de moarte duhovnicului său că-i pare nespus de rău că va muri neîmpăcat sufleteşte: "fiindcă nu pot să-mi dau sufletul în ţara mea".

S-a afirmat pe bună dreptate că nu există stat din Europa, Asia sau America, care să nu fi auzit de românul Brâncuşi, părintele sculpturii moderne.

Unul dintre cei mai de seamă elevi ai săi a fost Constantin Antonovici (1911-2002). Acesta a făcut studii la Academia de Arte din Iaşi, specialitatea "sculptor", pe care a terminat- o în anul 1939. Încă de atunci şi-a propus să ajungă la Paris, la C. Brâncuşi şi să devină discipolul acestuia. O vreme, în anul 1940 a lucrat la Zagreb, în Croaţia, în atelierele marelui sculptor croat I. Mestrovici. În anul 1941, revenind la Zagreb, a fost arestat de Gestapo, internat în Germania şi apoi i s-a fixat domiciliul forţat la Viena, unde a realizat o serie de opere de artă şi a participat la expoziţii de grup. Imediat după război, a primit comenzi de scupturi de la Vatican, Veneţia, Olanda, Montreal şi Washington. În 1947 a ajuns, în sfârşit, la Paris şi a lucrat o vreme în atelierul lui Brâncuşi, cel care a rămas apoi pentru toată viaţa sa "maestrul". După câţiva ani, pleacă peste Ocean, unde s-a stabilit definitiv din 1957. S-a integrat activ în viaţa comunităţii româneşti din New York, care i-a şi pus la dispoziţie un atelier într-una din anexele unei biserici româneşti. A contribuit din plin la popularizarea operei brâncuşiene peste Ocean, dar s-a afirmat şi prin propriile sale lucrări, precum "Bufniţa", "Lebăda", Statuia lui Brâncuşi, Capul lui Eminescu etc.

Oarecum în aceeaşi linie a creaţiei sculpturale se situează şi Nică Petre. Născut în 1936, a urmat Universitatea de Artă din Bucureşti, debutând printr-o expoziţie din anul 1968 şi urmând apoi mai multe expoziţii personale în ţară, precum şi peste hotare, în Italia, Grecia etc. În anul 1981, după o scurtă şedere în Italia, a emigrat în Canada, stabilindu-se la Toronto. Sculpturile sale în lemn sau în marmură au devenit cunoscute şi căutate nu numai în patria de adopţie, ci şi în alte ţări, din S.U.A. în Japonia, inclusiv în România.

Pe aceeaşi linie se înscrie şi sculptorul George Apostu (1934-1986). După ce se remarcase pe când se afla în România, cu participare la o serie de expoziţii personale, nu numai în ţara sa, ci şi în Franţa, Danemarca, Belgia, Spania, Italia, Grecia, Brazilia, India, s-a stabilit la Paris, unde primăria oraşului i-a atribuit în 1983 un atelier de creaţie. Apostu a fost cel mai reprezentativ dintre sculptorii care, în urmă cu mai multe decenii, au găsit în creaţia populară noi temeiuri în inovarea stilistică, fiind influenţat şi de opera lui Mircea Eliade.

Evident că dintre românii împrăştiaţi prin lume s-au remarcat şi alţii în domeniul picturii. Astfel, în Statele Unite, în anul 1948, în Florida, s-a stabilit pictoriţa Arămescu-Anderson Georgeta, după ce făcuse studii în Franţa sau la New York şi după ce lucrase o vreme în studiourile cinematografice din Bucureşti. A organizat peste 30 de expoziţii personale, unde a expus şi fratele său, sculptorul Constantin Arămescu.

Alături de el mai poate fi pomenit pictorul şi arhitectul Anton Baraschi (născut la Bucureşti în 1947, unde a şi terminat Institutul "Nicolae Grigorescu", specializându- se apoi în Germania). În 1970 s-a stabilit la New York, unde şi-a completat studiile şi şi-a cîştigat existenţa ca desenator, creând sute de modele de imprimeuri pentru marea industrie. S-a remarcat şi ca arhitect la câteva din marile companii americane.

Tot în America a trăit o vreme, remarcându-se ca sculptor, şi grafician, Eugen Mihăescu, născut în 1937 şi plecat din ţară în 1967, trăind o vreme în Elveţia şi stabilindu-se în Statele Unite, unde a colaborat permanent la cele mai mari publicaţii. După 1990 a revenit în România, devenind membru de onoare al Academiei Române.

Mulţi artişti români au desfăşurat activitate remarcabilă în alte ţări, precum Horia Damian sau Sorel în Franţa, Ligia Podorean-Ekström în Suedia, Camilian Demetrescu în Italia, Marcel Iancu în Elveţia şi Israel, Alexandra Nechita, "micuţa Picasso", în S.U.A. etc.

Prof. univ. dr. Gheorghe Zbuchea

Stefan Arteni, născut la Bucureşti în anul 1947, a început studii de arhitectură la care a renunţat pentru pictură, stabilindu-se în America şi împletind activitatea sa de pictor cu cea de publicist, cu referire specială, în formă tipărită sau pe calea undelor, la vremurile mai vechi de evoluţie a artelor.

FEED BACK, February 2006, nr.1-2, published by www.princepsedit.ro [a fragment of Arteni’s ‘Orpheus Mural Project’

FEED BACK, February 2006, nr.1-2, published by www.princepsedit.ro [a fragment of Arteni’s ‘Orpheus Mural Project’ illustrates Marcel Detienne’s essay The myth of Orpheus, translated into Romanian by Andrei Sturdza]

Mural Project’ illustrates Marcel Detienne’s essay The myth of Orpheus , translated into Romanian by Andrei
Stephen Baron, TimesLedger , December 15, 2005: an article on the 2005 Way of Form

Stephen Baron, TimesLedger, December 15, 2005:

an article on the 2005 Way of Form Retrospective Exhibition

Metapictorial work is a modern condition of Art. Victor Stoichita

Published Works

a modern condition of Art. Victor Stoichita Published Works Bible Review , June 2004: Arteni’s Anastasis

Bible Review, June 2004: Arteni’s Anastasis is reproduced on the cover.

Rooted in Southeast European, Western and East Asian spirituality, Arteni's reframing of imagic constructs has been prompted by Niklas Luhmann's insight: "Symbols …presuppose the difference between familiar and unfamiliar and…enable the re- entry of this difference into the familiar…They are forms of self-reference using the self-reference of form".

Arteni's polycontextural stylistic matrix allows room for a heterarchic play and recursive catenation of image structures where painterly time and painterly space - a topology of interlacings - may be envisioned as a polyphonic monologue. Michel Serres remarks: "An object…is…polychronic, multitemporal, and reveals a time that is gathered together, with multiple pleats".

a time that is gathered together, with multiple pleats". Bible Review , February 2005: Arteni's Conversion

Bible Review, February 2005: Arteni's Conversion of Saul is reproduced on the Gallery page.

Gallery The Conversion of Saul

sue=1&ArticleID=9 Gallery The Conversion of Saul The letters attributed to him account for almost half of

The letters attributed to him account for almost half of the New Testament’s 27 books, but Paul— originally Saul—of Tarsus didn’t 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 Christianity’s 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 road—heading for Damascus to trouble Christians there. On the way, however, he experiences one of the Bible’s 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 9:3–8).

http://members.bib- arch.org/image.asp?PubID=BSBR&Volume=20&Issue=03&ImageID=0

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 first man had signed with Satan after the Fall.

Calligraphy World, June 1996: an article on the 1996 calligraphy competition where Stefan Arteni was awarded the Japan Foreign Affairs Minister’s grand prize

on the 1996 calligraphy competition where Stefan Arteni was awarded the Japan Foreign Affairs Minister’s grand
on the 1996 calligraphy competition where Stefan Arteni was awarded the Japan Foreign Affairs Minister’s grand
on the 1996 calligraphy competition where Stefan Arteni was awarded the Japan Foreign Affairs Minister’s grand
( Jacqueline Brody , Editor, The Print Collector’s Newsletter , Vol.XXIV 1993: an article about
( Jacqueline Brody , Editor, The Print Collector’s Newsletter , Vol.XXIV 1993: an article about

(Jacqueline Brody, Editor, The Print Collector’s Newsletter,

Vol.XXIV

1993: an article about Laudes Creaturarum, the first artist’s book published by SolInvictus Press)

No. 1

March-April

A number of Arteni’s publications may be read on:

and on:

Asymetria - revue roumaine de culture, critique et imagination http://www.asymetria.org/

Two of Arteni’s scientific papers have been listed in:

EDV Katalog - Kunsthistorisches Institut in Florenz, Max-Planck-Institut Two retouching media / Stefan C. Arteni. – 1981 In: Atti del Convegno sul restauro delle opere d'arte / Opificio delle Pietre Dure ; Laboratori di Restauro di Firenze. Red. a cura di Anna Maria Giusti. – Firenze : Edizioni Polistampa, 1981. 1., 1981, p. 63-65

Y 4387 wi

The medium & grounds of 17th century Flemish & Dutch pictures of flowers / Stefan C. Arteni.

– 1981

In: Atti del Convegno sul restauro delle opere d'arte / Opificio delle Pietre Dure ; Laboratori di Restauro di Firenze. Red. a cura di Anna Maria Giusti. – Firenze : Edizioni Polistampa, 1981. 1., 1981, p. 59-62

Y 4387 wi

Arteni, Stefan C., New York (USA),1982, 'Farbenmischung und Ölfarben‘, Deutsches Farbenzentrum e.V.

Some of Arteni’s scientific papers have been listed on:

1. Aesthetic problems of the paint layer: moldavian wall paintings, easel paintings and illumination in relation to modern oil painting in romania (Corp. Author) (n.d.)

2. "Despre imaginile sacre si spiritul unei tehnici" Arteni, stefan (n.d.)

3. "Drawing materials and water-base mediums" Sanchez-Posada De Arteni, Myriam; Arteni, Stefan

4. "The essential dilemma of contemporary painting" Arteni, Stefan (1988)

5. "Peinture, restauration, et société" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam

6. "Artist, preserver and the question of survival for contemporary painting" Arteni, Stefan

7. "Materials of the artist: the survival of traditional grounding and priming methods for oil painting" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam (1984)

8. "From handcraft to mass production: notes on the manufacture of oil painting materials" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam (1984)

9. "Critical evaluation of data on the composition of ancient materials. Part I: structural components of the paint layer. Part II: paints and techniques" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam (1984)

10. "Glass sub-surface painting in Romania, 17th to 20th centuries" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam (1984)

11. "The secret of the masters: historical controversies and hypotheses" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam (1984)

12. "Painter, manufacturer of artists' materials, and conservator: historical and aesthetic significance of their role in the survival of a painting" Sanchez-Posada De Arteni, Myriam; Arteni, Stefan C. (1981)

13. "Two retouching media" Arteni, Stefan C.

14. "The medium and ground of 17th century. Flemish and dutch pictures of flowers" Arteni, Stefan

(1988)

(1987)

(1985)

(1981)

C. (1981)

15. Materials and techniques of glass sub-surface painting (Corp. Author)

16. Aesthetic problems of the paint layer: moldavian wall painting, easel painting and illumination in

(1980)

relation to modern oil paintings in romania. Part 1 (Corp. Author) (1979)

Some of Arteni’s scientific papers have been listed on:

www.lrmh.culture.fr base Castor:

0001 Color mixtures, a clue to the study of oil paintings

ARTENI (C. S.) - SANCHEZ POSADA DE ARTENI (M.) 1983VES-83-1-123

0002 The Secret of the masters : historical controversies and hypotheses ARTENI (S. C.) - SANCHEZ POSADA DE ARTENI (M.)

1984 ICOM-84-11-12

0003 Critical evaluation of data on the composition of ancient materials. Part I : structural components

ARTENI (S. C.) - SANCHEZ POSADA DE ARTENI (M.)1984 ICOM-84-11-2

0004 Materials of the artist : the survival of traditional grounding and priming methods for oil painting

ARTENI (S. C.) - SANCHEZ POSADA DE ARTENI (M.)1984 ICOM-84-11-8

0005 From Handcraft to mass production : notes on the manufacture of oil painting materials

ARTENI (S. C.) - SANCHEZ POSADA DE ARTENI (M.)1984 ICOM-84-19-1

0006 Glass sub-surface painting in Romania, seventeenth to twentieth centuries

ARTENI (S. C.) - SANCHEZ POSADA DE ARTENI (M.)1984 ICOM-84-3-1

0007 Peinture, restauration, et société ARTENI (S. C.) - SANCHEZ POSADA DE ARTENI (M.) 1987 ICOM-87-525

0008 The medium and grounds of 17th century flemish and dutch picture of flowers ARTENI (S.) 1976 – 1981 FLO-76-59

0009 Two retouching media ARTENI (S.) 1976 – 1981 FLO-76-63

0010 Artist, preserver and the question of survival for contemporary painting ARTENI (S.)1985 VES-85-2-121

0011 Painter, manufacturer of artists'materials, and conservator : historical and aesthetic

SANCHEZ POSADA DE ARTENI (M.) - ARTENI (S. C.)1981ICOM-81-11-2

http://inha.revues.org/3231 Institut national d’histoire de l’art 54 Arteni, Stefan C. et Sanchez-Posada de Arteni,
http://inha.revues.org/3231 Institut national d’histoire de l’art 54 Arteni, Stefan C. et Sanchez-Posada de Arteni,

Institut national d’histoire de l’art

54 Arteni, Stefan C. et Sanchez-Posada de Arteni, Myriam 1984 « Materials of the artist: the survival of traditional grounding and priming methods for oil painting », dans ICOM Committee for Conservation 7th Triennal Meeting, actes de colloque (Copenhague, 1984), Paris, p. 84.11.8-84.11.11 [preprints dactylographiés].

JAIC 1999, Volume 38, Number 1, Article 2 (pp. 03 to 20)

FROM THE GROUND UP: THE GROUND IN 19TH-CENTURY AMERICAN PICTURES JOYCE ZUCKER

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,

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

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)

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.