StefanArteni Biography November2014

Stefan Arteni
BIOGRAPHY
Web site:
www.stefanarteni.net
Artists books:
www.solo.bodleian.ox.ac.uk
Videos:
http://www.youtube.com/user/stefanarteni
Facebook page:
http://www.facebook.com/pages/Stefan-Arteni-Traditioning-and-the-Game-ofArt/187294881287639
E-books:
www.scribd.com/stefan%20arteni
Selected works:
www.saatchionline.com/wayofform
http://aiep.artistroster.org/portfolio.cfm?id=967
http://www.wishingwell.it/feimo/en/artist/sa
http://artindex.ro/2012/10/28/arteni-stefan/
Scientific papers on materials and tecniques:
EDV Katalog - Kunsthistorisches Institut in Florenz, Max-Planck-Institut ;
http://bcin.ca ;
www.lrmh.culture.fr base Castor
http://www.worldcat.org/identities/np-arteni,%20stefan%20c/
There is not only a cognitive a priori, but also an abyssal a priori, abyssal stylistic
A multitude of stylistic matricesinterferealter 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, Stefan Arteni was awarded the Japan Foreign Affairs Minister's Grand Prize
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.
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 inbetween, 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 flneur'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
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
Calligraphy Demonstration
Thursday, November 21, 2013
2013
9th World Calligraphy Biennale of Jeollabuk-do
October 5 November 3, 2013, Sori Arts Center of Jeollabuk-do,
Jeonju, South Korea
Travel the Collections: Storytelling in Asian Art

Saturday, May 5, 4:30-6:30 p.m.
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.
http://www.metmuseum.org/events/programs/talks-and-tours/gallery-workshops/travelthe-collections?eid=A001_%7BBCD04A12-6ED0-4FA8-9A938813B017451D%7D_20120105104518
2012
Brushed Voices (Art of Ink)
Shelter Rock Art Gallery
Unitarian Universalist Congregation
48 Shelter Rock Rd, Manhasset, NY 10030
Calligraphy Demonstrations and Artists Talks
by Stefan Arteni
February 26
March 19
2011
November 8 -27, Art of Ink,
Chiang Mai University (CMU), Thailand
A line from Li Sao:

a circle does not fit with
a square design
Width: 48.3 cm
Height: 132.7 cm
2009
Stefan Artenis mural project
Ashdown Forest. The New York Public Library childrens room dedicated
to the stories of Winnie-the Pooh written by A.A.Milne (1882-1956).
Stefan Arteni
(Geizan
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
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)
On The Borderline, 2008 Seoul Calligraphy Biennale, National Seoul Art Center, Seoul (Korea)
Calligraphy Triptych, each panel 134.5 x 68.00 cm
Art endures forever
The purpose of art is to serve beauty
The power of art is enduring
2007
Art of ink
Association Culturelle Franco-Japonaise de TENRI Espace Culturel
Bertin Poire, Paris (France)
Art of Ink
Hyundai Arts Center, Ulsan (Korea)
Los Angeles Center for Digital Art,

Los Angeles (U.S.A.)
Works in a private
collection,
Paris, France
Collection David S. Ferriero,

Washington, U.S.A.
Collection Chris Lesser

New York, U.S.A.
Collection Joseph Davis,
New York, U.S.A.
Private Collection,
Iasi, Romania
Private Collection,
New York, 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:
http://seoulbiennale.com/forum9-1.html or
http://seoulbiennale.com/f-gallery/modern89.html
Ehon
Continuity
and Change
The New York
Public Library,
New York
2005 - 2006
The Way of Form, Retrospective Exhibition 1971-2005, Q.C.C. Art Gallery-C.U.N.Y., New York
Visual art, evolutionary game theory, cybernetics, logic of distinctions, polycontexturality: a heuristic musing
(lecture-demonstration; March 9, 2006)
2005
"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)
Online 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:
http://www.csupomona.edu/~kellogg_gallery/calligraphy_web/a
rtOfink_index.html
Doizaki Galleries (Los Angeles)
2004
Art of Ink 2004, Mobile Museum of Art (Mobile, Alabama)
Yusho Ten, Tokyo-GeijyutuGekijyo (Tokyo, Japan)
Mulpa International
Exhibition: Mulpa Art
Center (Seoul, Korea) and
Seoho Museum (Seoul,
Korea)
2003
2000 - 2001
Art of Ink 2003, Shaanxi History

Museum (Xian, China)
" Calligraphy and Art. A New Perspective on

Contemporary Calligraphy: A Dialogue with Modern
Sinitic Writing Art (December 2000 - January 2001),
National Taiwan Museum of Fine Arts and Taichung County
Seaport Art Center (Taichung, Taiwan). Curated by Lin Sueching, Tsuei Yeong-shuei, Li Szu-hsien, and Lin Ming-shien.
Tokyo Ginza Gallery Museum

(Tokyo, Japan)
2002
2001
Contemporary Calligraphy
Masters, Representatives and
Invitational Exhibition, Tokyo
Ginza Gallery Museum (Tokyo,
Japan)
Works in the collection of the National Taiwan Museum of

Fine Arts, Taichung, Taiwan
Works in
Japanese private
collections
2000
Orpheus, St. Mark's Library Seabury Hall, The General Theological Seminary (New York)
Ink 2000, Newhouse Salon (New York)

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

The General Theological Seminary (New
York)
<Private collection, Osaka,Japan

Avant-garde Oriental Calligraphy, Doul Art Center
(Seoul, Korea)
1998
1997
East and West. Allegories,

Kobe Art Hall
(Kobe, Japan)
Mansfield Freeman and Davison Center for the

Arts, Wesleyan University (Middletown,
Connecticut)
Tweed Museum (Duluth, Minnesota)

1996
1992
Seton Hall University Galleries (South Orange, New

Jersey)
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)

1995
Sumner Museum (Washington, D.C.)
Golden West College Galleries (Huntington Beach,
California)
1973
Galleria LAccento (Rome, Italy)
The brochure contains two poems by Maestro
Sebastiano Carta dedicated to the artistis
1973 Galleria La Papessa (Rome, Italy)
Artenis 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
The dynamic logic of contradiction appears

as the logic of experience, and at the same
time, as the experience of logic.
Stphane 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 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).
He now concentrates his research on the pictorial fact and procedural switches between formal contextures, the ludic ritual
act of the performance event that creates a form-space, art communication as a high-context process, the mereotopology
of formal constructs, metacultural sensibility and complexity theory, and the complementarity of painting and calligraphy.
The immediacy of ink splashes spattered

on paper creates a constructed void
Zao Wou-Ki
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
purpose of presenting to the public
and press the copy of Laudes
Creaturarum given to the town by
SolInvictus Press
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)
< Artists proof
for
Laudes Creaturarum
Private Collection,
New York
> Artists proof
for
Laudes Creaturarum
Private Collection,
New York
2004
In Memoriam Daniel Simko. Word as Icon, The New York Public Library, Slavic and Baltic Division (New York)
2000
22 Book Artists, Harper Collins Exhibition Space (New York)
1998
Sign of The Logos, Artists Books and Related Materials, A Retrospective Exhibition of Sol
Invictus Press (November 19, 1998 - April 16, 1999) , St. Mark's Library, The General Theological
Seminary (New York). Curated by Isaac Gewirtz.
Apocalypse (album of clay monotypes)

Artenireleases 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
1996
F. I. R. A. - Forum International de la Reliure
dArt (Montreal, Canada)
1997
Center for Book Arts (New York)
Marymount College (New York)
http://www.aracanada.org/galeries_photos/fira/artistes/index.html
http://www.aracanada.org/galeries_photos/fira/artistes/slides/124B.jpg
http://www.aracanada.org/galeries_photos/fira/artistes/index.html#124B.
jpg
Soho Biennial (New York)

Center for Book Arts (New York)
Paper, Art & the Book
September 27 - December 7, 1996
1992
1993
The Armory (New York)
Andrew Melon Auditorium (Washington,
D.C.)
The Corcoran Gallery (Washington, D.C.)
Phoenix Public Library (Phoenix, Arizona)
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
(Crazy Hermit), comes
from a multicultural background. He was born in Bucharest and has lived in Rome and New
York. Arteni was educated at Romanian elementary and secondary schools in Bucharest,
and continued his education at Romanian (Bucharest), Italian (Rome) and United States
(New York) universities. He has pursued studies in architecture, art history, fine arts, icon
and mural painting, and the restitution and conservation of architectural monuments. He is
also proficient in several languages and has worked for the Vatican Radio as redactor and art
historian for many years.
From the beginning, a translocal multi-identiy web and a recursiveness of identity recreation,
a being between and astride cultures and moving across languages and visual contextures
set side by side, imply a second-order perspective, an experiential metacultural sensibility
Byzantine art freely appropriated and adapted the artistic practices of pagan Rome. There is
a wealth of references, borrowings and allusions in works by Pablo Picasso. Sound and
music compositions have employed remixing, reuse, quotation and self-quotation, for
centuries. More than at any previous time, an artist may have today knowledge and access to
works of the past. Charles Esche has commented recently and not entirely sympathetically:
"The past has become the future".
Redefining the artscape triggers the collage loop in myriad combinations: the use of random
procedures, recycling of fragments handed over to memory, objets trouvs, a quarry of
fragments mined for visual and associative effect, stylistic collage, commercial imagery,
fragments of artworks, random cut or torn paper bits, recycled by means of montage, staging,
perspective, foreshortening, are used by Arteni in collage modelli to create conflict and
contrast through colliding imagery, through recuperation and alteration, and through an ironic
reference to and dtournement of the very strategies of the avantgarde 'canon', 'tradition' or
'dogma' - the terms are ambiguous and suggestive of the structural contradiction inherent in
the avantgarde concept itself.
Private collection,
Rome, Italy
What form of mediain the most general and generic sense of the
technology of representation, the genre of mediationwould be
appropriate to the modern experience of exile ? Is there a mediatic
temporality that could be usefully described as exilic ?...
Homi Bhabha
All painting is painted under erasure and so is (as it explicitly, self-reflexively proclaims itself) an
empty page that is, by that very emptiness, marked.
Private collection,
Sweden
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 - Arteni questions the inherent
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 compositionally, harmonically, chromatically, or as
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.
The reduplication of the difference between medium and form in

forms that in turn can be used as mediumto 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.
Private collection
U.S.A.-Spain
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 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.
A New York collector's room

dedicated to Arteni's work
A few of Artenis calligraphies from
an U.S.A. private collection
NIHON SHODO GEIJUTSU KYOKAI

(JAPAN CALLIGRAPHY ART ASSOCIATION)
Chang Lien Ching (Chang Y-chao)

|
Hidai Tenrai
Miyajima Eishi
\
|
Hidai Nankoku
Artenis 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.
Kamijo Shinzan
|
Yusho Tanaka (Setsuzan)
|
Stefan Arteni (Geizan)
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 and Arteni

next to Artenis 2005
prize-winning calligraphy
Grasp tradition in one hand and grasp life in

the other
Shi Lu
Teaching
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 Bis
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
http://unofficialqccartgallery.blogspot.com/2014/08/stefan-artenis-way-of-form.html
Sunday, August 3, 2014

Stefan Arteni's The Way of Form
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.
Master Calligrapher Stefan

Arteni
Annunciation by Stefan Arteni
Entre Rascacielos Commemorative Edition, Vol.23, April 2014
The Day, April 15, 2014

[Artenis calligraphy is
reproduced in an article about
the Art of Ink exhibition 2014.]
http://ny.koreatimes.com/article/826831
: 2013-12-03 ()
Published: 2013-12-03 (Tuesday)
( )
Godwin Ternbach Museum .
, , .

. , ,
.
,
.
Stefan Arteni floor () ( brush demonstration)
.
, (Gesture & Beyond ) 2
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32 50 .
50 (1963), , 20
.2 12 30
. .
http://www.artfixdaily.com/artwire/release/8120gesture-and-beyond-the-art-of-ink-in-america-201314
Gesture and Beyond: The Art of Ink in America
2013/14
NEW LONDON, Connecticut -- 20 February 2014
Stefan Arteni, "The Fourfold
http://www.artfixdaily.com/images/
pr/ArteniS-TheFourfold-300dpi.jpg
Stefan Artenis essays have been cited in:

Ronny Julius C Verlet, Semiotics: Life of Signs.
Part2.
http://www.scribd.com/doc/217714528/Semiotics
-Life-of-Signs-Part-2
http://revistacultura.ro/nou/2013/08/printre-picaturi-notite-estivale-ii/
Printre picaturi. Notite estivale (II)

UN ARTICOL DE NICOLAE CONSTANTINESCU
NR. 433 din 15-August-2013
Perspectiva eroica, epopeica, activa, luptatoare, care tradeaza sau macar altereaza substanta marelui text
mioritic, nu a parasit nicicnd exegeza acestuia, desi nscrierea sa n orizontul estetico-filosofic pare a prevala. O
demonstratie n acest sens, n 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 n judecatile/prejudecatile sale, curajos n
apropieri si echivalari neasteptate, original si repetitiv n acelasi timp, prea exigent cu unii confrati pe care i ignora
cu gratie si prea ngaduitor cu altii, si caracterizeaza foarte bine autorul, surpriza vine de la graficianul Stefan
Arteni care nsoteste exegeza ursacheiana cu o serie de compozitii digitale extrem de expresive, n care un ochi
dibaci poate descifra trimiteri la Miorita eterna (p. 211), n care mi pare a descoperi o imagine foto (digitala,
desigur) a celebrului mozaic realizat de Milita Petrascu pe peretii exteriori ai fntnii Miorita din Bucuresti, opera
arhitectului Octav Doicescu, sau la personaje ale bestiarului mitologic evocate de etnolog n discursul sau (p. 57).
Iar discursul plastic are si o sustinere teoretica, adaugnd o dimensiune deloc neglijabila interpretarii baladei
dimensiunea antropologica, cu generalitati antropofilosofice (Orice comunitate este calauzita de o viziune despre
lume si se afla ntr-o relatie definita cu ntregul si cu sine. Aceasta nseamna ca omul trebuie ntotdeauna sa fie
nradacinat ntr-o structura a convingerilor si a ordinii. Asadar, nainte de toate, omul se afla n cultura si este
purtator de cultura) si aduceri la zi n limitele bunului simt si bunului gust, plednd pentru o hermeneutica de
adncime a acestui palimpsest al ruinelor.
PETRU URSACHE
PETRU URSACHE
Etnolog, estetician si istoric literar
Nscut la 15 mai 1931, n comuna Popesti, jud. Iasi).
Date personale
Absolv Liceul National Iasi n 1951, apoi Facultatea de Filologie a Universittii Al. I. Cuza (1952
1956), licentiat n limba si literatura romn. Doctor n Filologie (1971), conductor de doctorate,
disciplina Etnologie. Bibliotecar la Biblioteca judetean Gh. Asachi (1956 1958), preparator asistent
(1958 1960), lector (1960 1977), conferentiar (1977 1992), profesor (1992 2001) la Catedra de
Literatur romn si la Catedra de Literatur comparat.
The USR presentation of Petru Ursache reproduces Stefan Artenis digital portrait of professor Petru Ursache
http://usriasi.ro/petru.html August 2013
AID FOR AIDS auction NY

In celebration of its fifteenth anniversary AID FOR AIDS International (AFAI) is excited to announce the 2011 My
Hero Gala and silent art auction of prominent contemporary artists on Tuesday, November 8, 2011 at Three Sixty
(10 Desbrosses Street) in New York City. AFAI is honoring music icon Miguel Bos; President of Marc Jacobs
International Robert Duffy and his husband Alex Cespedes; former First Lady of Colombia, Lina Moreno de
Uribe; and President of the International Community for Women Living with HIV or AIDS, Patricia Prez. "The My
Hero Gala celebrates the courage to make a difference. Each of our honorees stand as a hero to those living with
HIV or AIDS and an inspiration to those of us who strive to do more," says AFAI Founder and Executive
Director, Jesus Aguais.
Chaired by AFAI board members Maria Eugenia Maury Arria, Graciela Dauhajre and Maria Jos Hidalgo, the
event will be attended by over 300 cultural luminaries, activists, artists, art patrons, and leaders in business and
philanthropy.
Joel Yoss of Hauser & Wirth Gallery serves as this year's Art Auction Committee Chair, joined by artistCarlos
Motta and art patron Beatriz de la Mora. Through their efforts, the Silent Auction will feature important works by
internationally renowned visual artists: Lara Alcantara Lansberg, Alexander Apstol, Stefan Arteni, Aziz +
Cucher, Tony Bechara, Isidro Blasco, Alberto Borea, Louise Bourgeois, Monika Bravo, Tania Candiani,
Carolina Caycedo, Patricia Cazorla, Alejandro Cesarco, Martin Creed, Matthew Day Jackson, Berlinde De
Bruyckere, Milagros de la Torre, Dias & Riedweg, Mauricio Donelli, Diana Drews, Marcia Grostein, Paul
Gabrielle, Regina Jos Galindo, Ellen Gallagher, Mary Heilmann , Christian Holstad , Roni Horn, Guillermo
Kuitca, Runo Lagomarsino, Adriana Lara, An-My L, Paul Lee, Almudena Legorreta, Lovett/ Codagnone,
Luis Mallo, Margarita Marino, Sean Mellyn, Steven Mendal, Ivn Navarro, Christopher Orr, Ana Patricia
Palacios, Carlos Reynoso, Patricia Rincn Mautner, Pipilotti Rist, Emilio Snchez, Wilbert Snchez Montes
de Oca, Fanny Sann, Horacio Sapere, Wilhelm Sasnal, Alexandra Seegers, Federico Serrano, Jorge Tacla,
Juergen Teller and Jakub Julian Ziolkowski.
http://www.wam-webartmagazine.com/index.php/previews/160-aid-for-aids-auction-ny
http://www.art-agenda.com/shows/aid-for-aids-internationals-2011-my-hero-gala-and-silent-art-auction/
http://www.aidforaids.org/index.php/site/donate_modalities/events/
WORKS IN AUCTION
Arteni Stefan
The Return of Ulysses, undated. Gouache on paper 30 1/4 x 22 1/4 inches Courtesy of the
artist
5,000.00
USD
http://www.scribd.com/collections/2675532/Semiologie
(Stefan Arteni and Sebeok, Peirce, Eco, etc.)
Stefan Arteni
Links (1)
http://www.tudor-art.com/main.php?category=link&language=1&id=8802&ses=da
Arteni
Stefan
pictor
scriitor
secolul XX
http://www.gallerya.ro/artisti.php?language=0&page=29&alfa=A&gen=&epoca=&stil=&fir
stname=&lastname=
New York Public Library

Stephen A. Schwarzman Building
New York, NY 10018 United States
Details
Genre/Form:
Artists' books
Translations into English
Poetry
Named Person:
Stefan Arteni
Document Type:
Book
All Authors / Contributors:
, 1763-1827 ; Issa Kobayashi; Lewis Mackenzie; Myriam S P De Arteni; Stefan Arteni; Sol Invictus Press.
OCLC Number:
727829389
Notes:
"Original linoleum cuts by Stefan Arteni. Design, mounting and handmade drop-spine box by Myriam S.P. de Arteni ... Edition of 9"-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.
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.
http://www.worldcat.org/title/fool-of-a-cat-haiku/oclc/727829389
Laudes creaturarum (Book) by Francis, 1182-1226. Author: Francis, of Assisi, Saint,

1182-1226. Title: Laudes creaturarum / San Francesco d'Assisi. Publisher, Date:
[Jackson Heights, N.Y. : Sol Invictus], 1992. Description: [32] leaves : ill. ; 38 cm. Genre
Printing stones -- United States -- 20th century. Format: Book
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
http://www.phoenixpubliclibrary.org/controller.jsp?R=201467
http://www.arte.it/artista.php?id=63&q=&lang=en&show=bib&p=14&t=
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-...
http://www.arte.it/search.php?q=stefan+arteni&x=17&y=23
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
Asymetria . Revista de cultura, critica si imaginatie . Stefan Arteni . The E-C European Model . 4.The Avantgarde and Ma
Stefan Arteni . The E-C European Model . 4.The Avantgarde and [...] operates under the spell of a Marxist obsession . Stefan Arteni . The East-Central
European Cultural Model ...
Link: http://www.asymetria.org/modules.php?name=News&file=print&sid=721
Asymetria . Revista de cultura, critica si imaginatie . Stefan Arteni . The E-C European Model . 4.The Avantgarde and Ma
operates under the spell of a Marxist obsession . Stefan Arteni . The East-Central European Cultural Model ...
Link: http://www.asymetria.org/modules.php?name=News&file=article&sid=721
StefanArteni TheEastCentralEuropeanCulturalModel 2009 05
the Animals, Roman mosaic, Shaba Museum, Syria . Stefan Arteni The East-Central European Cultural Model (a [...] V . God The Geometer, Bible Moralisee,
1215 . Stefan Arteni The East-Central European Cultural Model . 5 ...
Link: http://www.scribd.com/doc/31354394/StefanArteni-TheEastCentralEuropeanCulturalMo...
http://www.deutschefotothek.de/kue70004721.html
Arteni, Stefan
Knstler-Datensatz 70004721
* 1947 in RumnienCollageknstler, Maler, Mixed-Media-Knstler
Nachweisland: Vereinigte StaatenSchlagwrter: 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/
http://www.refertus.info/phenomenology.phtml
Arteni, Stefan
Stefan Arteni
http://www.stefanarteni.net/
Showcases the artist's work in Japanese calligraphy and painting and Sol Invictus Press, which creat es one of a kind artist's books. Lists exhibitions, collections and recent
essays on art related top ics.
Stefan Arteni is an artist and writer living in New York City.
Stefan Arteni, calligraphy, scroll painting, calligraphic, Arteni, Artini, Stephan, Japanese calligr aphy, shodo, artist's books, book arts, livres d'artiste, semiotic, phenomenology,
heidegger, luhma nn, husserl, de stael, zao wou-ki
stefan, arteni
(SLD : stefanarteni.net)
Arts/Visual_Arts/Personal_Pages/A
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.servinghistory.com/topics/polycontexturality
http://www.globalarchitectsguide.com/library/Polycontexturality.php
Stefan Arteni Painting as Polycontexturality - Stefan Arteni is an artist and writer
living in New York City.
Polycontexturality - In reason, subjectivity refers to the property of perceptions,
arguments, and language as being based in a subject point of view, and hence
influenced in accordance with
LIfe as Polycontexturality, Some Remarks - life as polycontexturality some
remarks on part 1. by Eberhard von Goldammer. As it was pointed out in the G
nther 2000 special a contexture is a logical domain where
http://www.mtakszi.iif.hu/cit-darvas_03-2010.pdf
THIERRY M. MARTINEZ cites Artenis paper Shodo on

http://savoir-changer.blogspot.com/2009/10/blog-post.html
http://www.webcom.com/~paf/ereignis3.html
new: www.beying.com/ereignis4.html
[cites Artenis paper Painting, Image, Likeness
with a link to the website]
http://www.laetusinpraesens.org/musings/conform.php
[site of Anthony Judge (Australia) who is the instigator of the Union of
Imaginative Associations (www.un-imagine.org) -- following his retirement in May
2007 as Director of Communications and Research at the Union of International
Associations (UIA) (www.uia.org). Cites Artenis paper Painting as
Polycontexturality]
Arteni has been cited in: Rudolf Kaehr, Which equality?
www.thinkartlab.com/pkl/media/Equality/Equality.pdf:
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
Rudolf Kaehr Dr.@
ThinkArt Lab Glasgow
http://www.thinkartlab.com/pkl/media/Fishes+Birds/Fishes+Birds.html
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 wornout 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 Guenthers transclassic logic investigations. Polycontextural systems apply
different codes of self-observation related to different observation positions. (Arteni)
17 http://www.quark-press.ro/site.php?document=MainFrameDoc&elementID=21399
From Glory to Glory The Sophianic Vision of Fr Sergius Bulgakov in Context of Tradition
by Robert Thompson
http://www.academia.edu/5493709/From_Glory_to_Glory_The_Sophianic_Vision_of_Fr_Sergius_Bulgakov_in_Co
ntext_of_Tradition
Robert F. Thompson cites Artenis 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
http://brightmetaphor.files.wordpress.com/2010/05/rthompson_thesis2.pdf
Troy Harris
[Buddhist name: Sritantra]
ascetic, artist, researcher,
poet, painter
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.
http://bauddhamata.blogspot.com/
Calligraphy, then, as a facet of writing, and which thereby expects to communicate something, harbours
resounding rhetorical implications. And one ponders therefore as to what extent the peripheries of Asia had
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"?
Rene Labuies: an abstract monologue

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,' flneur and dap.
What is more, in our present globalizing academic sense at least, painting isn't necessarily even
considered "painting" but more an extension of writing (criture), which covers simultaneously images and
letters, and thereby makes such terms as "letter" and "image" remarkably 'irrelevant in stricto senso'
(Inaga, 2007: 266).
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?
Reference: Stefan Arteni 2001. "Painting,

Image, Likeness."
I shall return to these questions as soon as possible.
on 22.10.07
References
In October 2007 Arteni received a few emails
from Sritantra.Sritantra wrote:
I first came across your online work more
than two years agoMy 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
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" (shhua/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 Artenis works may be viewed on the website of the SAATCHI

GALLERY DUKE OF YORK HQ, London, U.K:
http://www.saatchigallery.co.uk/yourgallery/artist_profile/Stefan+Arteni/6833.html
http://www.saatchionline.com/wayofform
www.respiro.org/Issue10/arteni.htm
http://www.ikonartstudio.com/udigma-arteni.html
and
http://www.ikonartstudio.com/arteni-ulise.html
http://www.quark-press.ro/resources/images/pdf/
The%20Return%20of%20Ulysses%203.pdf :
Artenis digital artists book, The Return of Ulysses.
A selection of Artenis paintings and collages may be viewed
on Quark/Galerie de art
[http://www.quark-press.ro/site.php?document=
MainFrameDoc&elementID=20826]
http://www.zhuadongxi.com/search?p=arts%2Fvisual_arts%20stefan%20arteni
Arteni, Stefan
Showcases the artist's work in Japanese calligraphy and painting and Sol Invictus
Press, which creates one of a kind artist's books. Lists exhibitions,...
www.stefanarteni.net/
http://ro.wikipedia.org/wiki/List%C4%83_de_oameni_de_cultur%C4%83_rom%C3%A2ni
_care_au_emigrat_%C3%AEn_Occident
http://ro.wikipedia.org/w/index.php?title=%C8%98tefan_C._Arteni&action=edit&redlink=1
Petru Ursache, Gastrosofia sau Bucataria Vie, Eikon, Cluj-Napoca, 2014

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

Petru Ursache, Moartea Formei, Eikon, Cluj-Napoca, 2014

[two of Artenis digital compositions are reproduced on the front and back covers]
Petru Ursache, Etnofrumosul, Eikon, Cluj-Napoca, 2014

Petru Ursache, Etnoestetica, Eikon, Cluj-Napoca, 2014

Petru Ursache, Etnosofia, Eikon, Cluj-Napoca, 2013

[two of Artenis digital compositions are reproduced on the front and back covers]
Magda Ursache, Vietile Cartarilor Contimporani, 2012

Artenis digital portrait of the writer Magda Ursache is reproduced on the cover
Petru Ursache, Omul din Calidor, 2012

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

2012
[five of Artenis digital compositions are
reproduced as illustrations and on front
cover]
Ardealul Literar, Year XIV,

Nr.1 (52)/2012
[two of Artenis paintings are reproduced
on the covers/
ARGES, Year XI (XLVI), nr. 11 (353), November 2011, published by Centrul Cultural Pitesti
[a work by Arteni illustrates Mihai Rogobetes article]
ARGES, Year XI (XLVI), nr. 8 (350), August 2011, published by Centrul Cultural Pitesti
ARGES, Year XI (XLVI), nr. 7, July 2011, published by Centrul Cultural Pitesti
ARGES, Year XI (XLVI), nr. 6, June 2011, published by Centrul Cultural Pitesti
ARGES, Year XI (XLVI), nr. 5, May 2011, published by Centrul Cultural Pitesti
PRO SAECULUM, Focsani, Vranpress Media, Year IX, Nr. 5-6, 2010 [2 of Artenis works are reproduced on the covers in color; 48 of
Artenis works are reproduced as black and white illustrations] www.pro-saeculum.ro
Artenis digital portrait of the writer Magda Ursache,

ACOLADA, January 2010
http://www.editurapleiade.eu/images/static/files/1_2010.pdf
Magda Ursache, Sa Cititi Bine!, 2010

Artenis digital portrait of the writer Magda Ursache is reproduced on the cover
Petru Ursache, Short Treatise on Theological Aesthetics, second edition, 2009

[two of Artenis works are reproduced on the covers]
Petru Ursache, Short Treatise on Theological Aesthetics, second edition, 2009

[eight of Artenis works are reproduced as illustrations]
CONVORBIRI LITERARE, October 2009, Iassy

[ten of Artenis works are reproduced as illustrations]
SPATII CULTURALE,
nr.6/September-October 2009,
Ramnicu-Valcea,
reproduces Artenis digital
portrait of the writer
Magda Ursache,
http://spatiiculturale.50gigs.net/62009/INTERVIU.htm
ARGES, Year IX (XLIV), nr. 8 (326),

August 2009, published by Centrul
Cultural Pitesti
[Artenis Udigma article is illustrated
with a digital selfportrait]
Sorin Parvu, general coordinator, A DICTIONARY OF NORTH-AMERICAN WRITERS.VOL I. A,

European Institute and Centre dEtudes Canadiennes, Iassy, 2008 (the Dictionary lists also
North-American visual artists)
POSTMODERNISM(E), no. 1-2, 2009,

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

European Institute, Iassy [six of Artenis works
are reproduced as illustrations and one work
is reproduced on the cover ]
www.davidould.net/.../christs_descent_to_hades
[David Ould, an Englishman who studies at
Moore Theological College in Sydney, wrote an
essay entitled Christs Descent to Hades. Artenis
Anastasis has been used as illustration]
Maxime Martinez posted an album of

reproductions of Artenis works:
https://picasaweb.google.com/Macsmart2/
StefanArteni#
Somebody viewed Artenis website and

pinned a few works
http://www.picstopin.com/300/stefanartenicollections/http:%7C%7Cwww*stefanart
eni*net%7Cbiography%7Ccollections%
7CShikishi_1_lg*jpg/
mardi 19 aot 2008

Zen Transfiguration
Traces d'un passage et rminiscences...
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'intresser la Prire
de Jsus laquelle il a consacr un album. Parce que comme la
calligraphie japonaise ou chinoise, l'Hagiographie est criture
(criture sainte et criture du sacr) pas la peinture occidentale
dite religieuse, ou thme religieux. De mme que la calligraphie
est mditation, l'Hagiographie est prire. De mme que la
calligraphie et l'art pictural qui en dcoule, l'Hagiographie
orthodoxe sont action et mditation en mme temps. Le
calligraphe mdite avant son art comme l'iconographe prie avant
de se mettre au travail. Corps, me et esprit sont en mouvement
sans division, sans sparation dans la rceptivit de l'Indicible,
de l'Innommable, dans le paradoxe de l'Irreprsentable, dans la
clbration du Sacr. Quand il y a communication entre
calligraphie (la belle criture du Beau) et l'Hagiographie la
Lumire n'y perd pas, elle est vue travers un autre prisme mais
c'est toujours la Lumire
http://orthodoxe-ordinaire.blogspot.com/2008/08/zen-transfiguration.html
[reproduces Artenis Transfiguration]
http://picasaweb.google.com/Macsmart2/StefanArteni#slideshow
mardi 23 dcembre 2008

Maxime Martinez
Stefan Arteni m'a envoy cette

belle carte dans le style de
son travail "calligraphiconique"
je vous l'offre mon tour :
http://orthodoxe-ordinaire.blogspot.com/search?q=arteni
[reproduces Artenis Nativity compositions]

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 Artenis 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 Artenis 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 Rogobetes
short stories]
LUCEAFARUL,
Year XVI, nr.8(797),
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
ORIENT LATIN,
nr. 3, March 2008
PARADIGMA XXI,
February 2008, nr.2 (16),
published by Quark Press,
www.quark-press.ro
PARADIGMA XXI,
www.quark-press.ro
PARADIGMA XXI,
www.quark-press.ro
QUARK PRESS
www.quark-press.ro
Home
Quark/Biblioteca virtual/continuare
Despre Noi
Servicii
The Return of Ulysses 3 (pdf)
Reviste
Autor: tefan Arteni

Editura: SolInvictus Press
Apariie: 2007
Creaie
Dosarele
Paradigma XXI
Biblioteca
virtual
Galerie de art
The Return of Ulysses 4 (pdf)

Autor: tefan Arteni
Editura: SolInvictus Press
Apariie: 2007
Balcanii si Europa nr.73 din 2007

Romni n lume
"Scoala Brncui"
n capitala Franei au avut loc o serie de manifestri, sub
egida UNESCO, dar i a Ligii Culturale pentru Unitatea
Romnilor de Pretutindeni, cu ocazia mplinirii a 50 de ani
de la trecerea n nemurire a lui Constantin Brncui,
olteanul din Hobia, devenit cetean al lumii. La Centrul
Artei Contemporane "George Pompidou" din Paris, a fost
reconstituit ntocmai atelierul su, lsat n ntregime statului
francez, dup ce autoritile de la Bucureti l-au refuzat cu
mai bine de 50 de ani n urm. Cu regretul de a nu fi fost
neles n ara natal, marele artist mrturisea pe patul de
moarte duhovnicului su c-i pare nespus de ru c va muri
nempcat sufletete: "fiindc nu pot s-mi dau sufletul n
ara mea".
S-a afirmat pe bun dreptate c nu exist stat din Europa,
Asia sau America, care s nu fi auzit de romnul Brncui,
printele sculpturii moderne.
Unul dintre cei mai de seam elevi ai si a fost Constantin
Antonovici (1911-2002). Acesta a fcut studii la Academia
de Arte din Iai, specialitatea "sculptor", pe care a terminato n anul 1939. nc de atunci i-a propus s ajung la
Paris, la C. Brncui i s devin discipolul acestuia. O
vreme, n anul 1940 a lucrat la Zagreb, n Croaia, n
atelierele marelui sculptor croat I. Mestrovici. n anul 1941,
revenind la Zagreb, a fost arestat de Gestapo, internat n
Germania i apoi i s-a fixat domiciliul forat la Viena, unde a
realizat o serie de opere de art i a participat la expoziii
de grup. Imediat dup rzboi, a primit comenzi de scupturi
de la Vatican, Veneia, Olanda, Montreal i Washington. n
1947 a ajuns, n sfrit, la Paris i a lucrat o vreme n
atelierul lui Brncui, cel care a rmas apoi pentru toat
viaa sa "maestrul". Dup civa ani, pleac peste Ocean,
unde s-a stabilit definitiv din 1957. S-a integrat activ n viaa
comunitii romneti din New York, care i-a i pus la
dispoziie un atelier ntr-una din anexele unei biserici
romneti. A contribuit din plin la popularizarea operei
brncuiene peste Ocean, dar s-a afirmat i prin propriile
sale lucrri, precum "Bufnia", "Lebda", Statuia lui
Brncui, Capul lui Eminescu etc.
Oarecum n aceeai linie a creaiei sculpturale se situeaz i

Nic Petre. Nscut n 1936, a urmat Universitatea de Art din
Bucureti, debutnd printr-o expoziie din anul 1968 i
urmnd apoi mai multe expoziii personale n ar, precum i
peste hotare, n Italia, Grecia etc. n anul 1981, dup o scurt
edere n Italia, a emigrat n Canada, stabilindu-se la
Toronto. Sculpturile sale n lemn sau n marmur au devenit
cunoscute i cutate nu numai n patria de adopie, ci i n
alte ri, din S.U.A. n Japonia, inclusiv n Romnia.
Pe aceeai linie se nscrie i sculptorul George Apostu
(1934-1986). Dup ce se remarcase pe cnd se afla n
Romnia, cu participare la o serie de expoziii personale, nu
numai n ara sa, ci i n Frana, Danemarca, Belgia, Spania,
Italia, Grecia, Brazilia, India, s-a stabilit la Paris, unde
primria oraului i-a atribuit n 1983 un atelier de creaie.
Apostu a fost cel mai reprezentativ dintre sculptorii care, n
urm cu mai multe decenii, au gsit n creaia popular noi
temeiuri n inovarea stilistic, fiind influenat i de opera lui
Mircea Eliade.
Evident c dintre romnii mprtiai prin lume s-au remarcat
i alii n domeniul picturii. Astfel, n Statele Unite, n anul
1948, n Florida, s-a stabilit pictoria Armescu-Anderson
Georgeta, dup ce fcuse studii n Frana sau la New York i
dup ce lucrase o vreme n studiourile cinematografice din
Bucureti. A organizat peste 30 de expoziii personale, unde
a expus i fratele su, sculptorul Constantin Armescu.
Alturi de el mai poate fi pomenit pictorul i arhitectul

Anton Baraschi (nscut la Bucureti n 1947, unde a i
terminat Institutul "Nicolae Grigorescu", specializnduse apoi n Germania). n 1970 s-a stabilit la New York,
unde i-a completat studiile i i-a ctigat existena ca
desenator, crend sute de modele de imprimeuri pentru
marea industrie. S-a remarcat i ca arhitect la cteva din
marile companii americane.
Tot n America a trit o vreme, remarcndu-se ca
sculptor, i grafician, Eugen Mihescu, nscut n 1937 i
plecat din ar n 1967, trind o vreme n Elveia i
stabilindu-se n Statele Unite, unde a colaborat
permanent la cele mai mari publicaii. Dup 1990 a
revenit n Romnia, devenind membru de onoare al
Academiei Romne.
Muli artiti romni au desfurat activitate remarcabil
n alte ri, precum Horia Damian sau Sorel n Frana,
Ligia Podorean-Ekstrm n Suedia, Camilian
Demetrescu n Italia, Marcel Iancu n Elveia i Israel,
Alexandra Nechita, "micua Picasso", n S.U.A. etc.
Prof. univ. dr. Gheorghe Zbuchea
Stefan Arteni, nscut la Bucureti n anul 1947, a nceput

studii de arhitectur la care a renunat pentru pictur,
stabilindu-se n America i mpletind activitatea sa de pictor
cu cea de publicist, cu referire special, n form tiprit sau
pe calea undelor, la vremurile mai vechi de evoluie a artelor.
http://www.balcanii.ro/index_html?editia=73
FEED BACK, February 2006, nr.1-2,

published by www.princepsedit.ro
[a fragment of Artenis Orpheus Mural
Project illustrates Marcel Detiennes
essay The myth of Orpheus, translated
into Romanian by Andrei Sturdza]
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
Bible Review, June 2004: Artenis

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 andenable the reentry of this difference into the familiarThey 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
objectispolychronic, multitemporal, and reveals a
time that is gathered together, with multiple pleats".
Bible Review, February 2005: Arteni's

Conversion of Saul is reproduced on the
Gallery page.
http://members.bibarch.org/publication.asp?PubID=BSBR&Volume=21&Is
sue=1&ArticleID=9
Gallery
The Conversion of Saul
The letters attributed to him account for almost half of the New Testaments 27 books, but Paul
originally Saulof Tarsus didnt start out a fan of Jesus or his followers. It took a blinding flash of
light and a fall to transform this persecutor of Christians into Christianitys all-time greatest
advocate. His famous change of heart on the road to Damascus is depicted in this work by
Romanian-born New York painter and master calligrapher Stefan Arteni.
The Book of Acts tells how Saul, a tentmaker, oversaw the stoning of the first Christian martyr,
Stephen. Fired by a zealous hatred for the followers of Jesus, Saul denounced other Christians and
voted for their execution, and then took his show on the roadheading for Damascus to trouble
Christians there. On the way, however, he experiences one of the Bibles great turnabouts: While
he was still on the road and nearing Damascus, suddenly a light from the sky flashed all around
him. He fell to the ground and heard a voice saying, Saul, Saul, why are you persecuting me? Tell
me, Lord, he said, who you are. The voice answered, I am Jesus, whom you are persecuting. ...
Saul got up from the ground, but when he opened his eyes he could not see (Acts 9:38).
http://members.bibarch.org/image.asp?PubID=BSBR&Volume=20&Issue=03&ImageID=0
c100&SourcePage=publication.asp&UserID=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 Ministers grand prize
(Jacqueline Brody, Editor, The

Print Collectors Newsletter,
Vol.XXIV No. 1 March-April
1993: an article about Laudes
Creaturarum, the first artists
book published by SolInvictus
Press)
A number of Artenis publications may be read on:

http://www.scribd.com/stefan%20arteni
and on:
http://www.cartidownload.ro/Diverse/490578/
Stefan_Arteni_the_East_Central_European_Cultural_Model
as well as on:
Asymetria - revue roumaine de culture, critique et imagination
http://www.asymetria.org/
Two of Artenis 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
http://opac.khi.fi.it/cgi-bin/hkhi_de.pl
http://www.colour-europe.de/StartSeiteInstitutionen-dfz-themen.htm :
Arteni, Stefan C., New York (USA),1982, 'Farbenmischung und lfarben,
Deutsches Farbenzentrum e.V.
Some of Artenis scientific papers have been listed on:
http://bcin.ca :
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 (1988)
4. "The essential dilemma of contemporary painting" Arteni, Stefan (1988)
5. "Peinture, restauration, et socit" Arteni, Stefan C.; Sanchez-Posada De Arteni, Myriam (1987)
6. "Artist, preserver and the question of survival for contemporary painting" Arteni, Stefan (1985)
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. (1981)
14. "The medium and ground of 17th century. Flemish and dutch pictures of flowers" Arteni, Stefan
C. (1981)
15. Materials and techniques of glass sub-surface painting (Corp. Author) (1980)
16. Aesthetic problems of the paint layer: moldavian wall painting, easel painting and illumination in
relation to modern oil paintings in romania. Part 1 (Corp. Author) (1979)
Some of Artenis 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
0005 From Handcraft to mass production : notes on the manufacture of oil painting materials
0006 Glass sub-surface painting in Romania, seventeenth to twentieth centuries
0007 Peinture, restauration, et socit 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://www.collectionscanada.gc.ca/obj/s4/f2/dsk2/ftp03/NQ26696.pdf
http://inha.revues.org/3231
Institut national dhistoire de lart
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 dactylographis].
Scientific Papers, Reports, and Broadcasts

1-61
The History of Christian Art in Europe
(61 Broadcasted Programs, Radio Vaticana-Sezione Romena 1974-1975:
1-28: Early Christian Art;
29-33: Carolingian Renaissance;
34-40: Ottonian Art;
41-44: Romanesque Art;
45-61: Gothic Art.)
62
Imaginile Sacre si Spiritul unei Tehnici
Buna Vestire XIII 3-4 (1974), 131-163 (Tipografia Poliglota Gregoriana,
Rome, Italy)
63
Studiu asupra Bisericilor dela Voronet si Arbore
Buna Vestire XV 3-4 (1976), 65-100 (Tipografia Poliglota Gregoriana,
Rome, Italy)
64
The Medium and Grounds of 17th Century Flemish and Dutch Pictures
of Flowers, Convegno di studi sul Restauro a Dieci Anni dall' Alluvione
in Firenze, 1976 (Florence: Edizioni Polistampa, 1981)
I 59-62
65
Two Retouching Media,
Ibid., 63-65.
66
The Manufacture of Oil Vehicles for Painting Purposes,
13th I.S.F. International Congress, Section Lipids in Art, Marseille,
France, 1976 (Marseille: Laboratoire National des Matieres Grasses Institut des Corps Gras and Modena: Artioli, 1976)
5-15.
67
Properties of Basic Lead Carbonate Ground in Various Vehicles,
in collaboration with Dr. C. Y. Jeanson, 14th I.S.F. International
Congress, Section Lipids in Art, Brighton, England, 1978
(Modena and Correggio: Artioli and S.I.R.A.I., 1980)
68
Grounds for Oil Painting. A Survey of Materials,
in collaboration with M. Sanchez Posada
Ibid., 71-77.
69
The Materials and Techniques of Spanish Masters,
in collaboration with M. Sanchez Posada
Ibid., 57-61.
70
Inquiry into the Nature of Oils and Varnishes Used in the Low Countries,
Ibid., 113-124.
71
The Notes of De Mayerne on Artists' Oil Colors,
Ibid., 103-109.
72
The Strasburg Manuscript, a Compendium of Van Eyck's Materials and
Techniques, Ibid., 127-134.
73
Notes on Artists' Materials. A Short Treatise on the Art of Painting,
Ibid., 139-153.
74
Space, Color, Medium,
Ibid., 159-180.
75
Emulsions et Mediums,
Ibid., 88-90.
76
Notes on Some Formulas for White Oil Colors,
Ibid., 77-78.
77
Experimental Oil Painting 1973,
Ibid., 78-79.
78
Notes on Romanian Painting Techniques,
Ibid., 79-80.
79
Pacheco: Original Extracts on Distemper, Tempera and Illuminating Materials,
Ibid., 61-62.
80
The Construction of a Painting. Introduction,
Ibid., 62-64.
81
Amber and the Italian Varnish,
Ibid., 64-65.
82
Wax and Other Materials,
Ibid., 64-65.
83
Alchemy and the Art of Painting in Oils,
Ibid., 135.
84
Les Materiaux pour Couleurs a l'Eau et Pastels dans le
Manuscrit du Docteur Turquet de Mayerne,
Ibid., 135-138.
85
Poppy Oil Vehicles,
Ibid., 125-126.
86
Inpainting Media,
Ibid., 153-154.
87
Critical Evaluation of Published Data on the Composition of Ancient
Materials. Some Questions of Research and Practice (Unpublished
paper, I.S.F.-A.O.C.S. 1980 International Congress, Section Lipids
in Art, New York, USA)
88
Drawing Materials, a Preliminary Study. Restoration Problems of
Drawings Executed in Mixed Techniques in collaboration with M.
Sanchez Posada de Arteni
Ibid.
89
Technological Innovation and Manufacture of Oil Painting Materials:
Evolution from Hand-Craft to Mass Production
Ibid.
90
Color Mixtures, a Clue to the Study of Oil Painting
Ibid.
91
The 'Secret' of the Masters
Ibid.
92
Preparation of Colors
Ibid
93
Report on the Meeting of Section Lipids in Art, May 1, 1980
Survey on Lipid Science and Technology 1980.
Reports from the Joint I.S.F./A.O.C.S. Congress-15th I.S.F. Congress
123-133.
94
Pallady. Twentieth Century Romanian Painting in Europe
(Unpublished paper, A. R. A. 2, 1977)
95
A Century of Romanian Painting: 1877-1977
(Unpublished paper, A.R.A. 3, 1978)
96
Aesthetic Problems of the Paint Layer: Moldavian Wall Painting,
Easel Painting and Illumination in Relation to Modern Oil Painting in
Romania. First Part.
97
Aesthetic Problems of the Paint Layer: Moldavian Wall Painting,
Easel Painting and Illumination in Relation to Modern Oil Painting in
Romania. Second Part.
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
101
Farbenmishung und Oelfarben
(Unpublished paper, FARB-INFO 82, Amsterdam, Holland, 1982)
102
Color Mixtures, a Clue to the Study of Oil Painting,
in collaboration with M. Sanchez Posada de Arteni, Fourth International
Restorer Seminar, Veszprem, Hungary, 1983
(Budapest: National Centre of Museums and U.N.E.S.C.O., 1984)
121-134.
103
From Handcraft to Massproduction, Notes on the Manufacture of
Oil Painting Materials.
in collaboration with M. Sanchez Posada de Arteni,
Fourth International Restorer Seminar Veszprem, Hungary, 1983,
unpublished.
104
Glass Sub-Surface Painting in Romania, Seventeenth to Twentieth
Centuries, in collaboration with M. Sanchez Posada de Arteni,
I.C.O.M. Committee for Conservation 7th Triennial Meeting, Copenhagen,
Denmark, 1984 (Paris: I.C.O.M. and J. Paul Getty Trust, 1984), Report 84/3/1.
105
Critical Evaluation of Data on the Composition of Ancient Materials.
Part I: Structural Components of the Paint Layer. Part II: Paints and
Techniques, in collaboration with M. Sanchez Posada de Arteni
Ibid., Report 84/11/2.
106
Materials of the Artist. The Survival of Traditional Grounding and
Priming Methods for Oil Painting,
in collaboration with M. Sanchez Posada de Arteni, Ibid., Report 84/11/8.
107
The Secret of the Masters: Historical Controversies and Hypotheses,
108
From Handcraft to Massproduction. Notes on the Manufacture of
Oil Painting Materials,
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,
International Conference on Archives,
Cali, Colombia, 1986, Unpublished.
111
Peinture, Restoration, Societe,
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.

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Stefan Arteni

Selected Exhibitions and Awards

Arteni's art sprouted in the bitter soils of an East-Central Europe haunted

International Exhibition and Symposium

2014 Art of Ink in America :

2013 Art of Ink in America :

Travel the Collections: Storytelling in Asian Art

A line from Li Sao:

2009 World Calligraphy Biennale of Jeollabuk-do

Time waits for no man

A line from Li Sao:

Arteni has extensively exhibited calligraphies and paintings throughout

Art endures forever

The purpose of art is to serve beauty

The power of art is enduring

Los Angeles Center for Digital Art,

Collection David S. Ferriero,

Collection Chris Lesser

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

Art of Ink, Cal Poly Pomona W. Keith and Janet Kellog

Doizaki Galleries (Los Angeles)

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

Yusho Ten, Tokyo-GeijyutuGekijyo (Tokyo, Japan)

Doizaki Galleries (Los Angeles)

Art of Ink 2003, Shaanxi History

" Calligraphy and Art. A New Perspective on

Tokyo Ginza Gallery Museum

Works in the collection of the National Taiwan Museum of

Ink 2000, Newhouse Salon (New York)

Monotypes, St. Mark's Library,

<Private collection, Osaka,Japan

Doizaki Galleries (Los Angeles)

East and West. Allegories,

Mansfield Freeman and Davison Center for the

Tweed Museum (Duluth, Minnesota)

Seton Hall University Galleries (South Orange, New

Manhattan East Gallery (New York)

Doizaki Galleries (Los Angeles)

1973 Galleria La Papessa (Rome, Italy)

Artenis works are in numerous private,

seeing signs, hidden

The dynamic logic of contradiction appears

The immediacy of ink splashes spattered

International Art Projects

Medellin, Colombia, February 2009:

< Artists proof

> Artists proof

Apocalypse (album of clay monotypes)

Soho Biennial (New York)

Humphrey Gallery (New York)

(Crazy Hermit), comes

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

The reduplication of the difference between medium and form in

Exile is a hard walk, an intricate tattoo.

Works in the Mobile Museum of Art

A few works in U.S.A.

A New York collector's room

NIHON SHODO GEIJUTSU KYOKAI

Chang Lien Ching (Chang Y-chao)

Artenis interest in calligraphy began in high school. He

The Association traces its lineage to 1887, when a

Setsuzan Sensei and Arteni

Setsuzan Sensei and Arteni