Ștefan Arteni

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Ștefan Arteni
Born(1947-08-21)August 21, 1947
Bucharest, Romania
DiedApril 1, 2020(2020-04-01) (aged 72)
New York City, United States
NationalityRomanian, American
Other namesKyosen, Geizan
EducationIon Mincu University of Architecture and Urban Planning, Accademia di Belle Arti di Roma, New York University
OccupationArtist
Years active1966-2020
EmployerIndependent Artist
Known forEastern Asian Calligraphy, religious and secular paintings
Notable work"The Way of Form", "The Sign of the Logos"
StyleAbstract
SpouseMyriam Sánchez Posada de Arteni
AwardsTitle of Shihan, Master Seal Carver, Japan Foreign Minister's Grand Prize for Calligraphy
Websitewww.stefanarteni.net

Ștefan C. Arteni (September 21, 1947 – April 1, 2020) was a Romanian artist, painter, calligrapher, architect, historian, essayist, and translator. His work focused on east Asian calligraphy, as well as secular and religious paintings.

Early life[edit]

Arteni was born on September 21, 1947, in Bucharest, Romania, to Constanța Arteni and Vasile Arteni, a physician who specialized in otorhinolaryngology. Ștefan grew up primarily in Bucharest, and as a teenager was introduced to eastern Asian characters and letters while watching the movie Harakiri (1962) on his black-and-white family television set. Eastern Asian characters and letters piqued his curiosity and he discovered a passion, deep respect and understanding for the oriental arts, symbols, and calligraphy. In a letter to his close friend Michael Finkenthal,[1] he expressed the impact this experience had on him, and how it influenced his style and later work:

My interest in calligraphy began in high school. My Japanization - he wrote - began with that black-and-white film Harakiri, seen in the motherland: every image perfectly composed and especially... the ritual. I was profoundly impressed by the perfect composition of each image. Many scenes suggest a wonderful calligraphic dance. In terms of its content, the motion picture draws attention to the performative qualities of ritual.

After attending the Nicolae Tonitza High School of Fine Arts[2] between 1961 and 1965, he was denied admission to a Fine Arts program in the state-run university system because his liberal parents were considered politically unreliable by Nicolae Ceaușescu's regime. As a result, he studied architecture at the Ion Mincu University of Architecture and Urban Planning,[3] from which he graduated in 1970.[4]

1971 - present[edit]

His early life was profoundly impacted by the communist regime in Romania under Ceaușescu's administration. Due to the harsh conditions by the communist party, upon completion of his studies in 1971, Arteni's parents' graduation gift was a trip to Paris to study the city's great museums. However, his parents' real intentions were to flee Romania and remain in exile. As such, they escaped Romania in 1971 and sought political asylum in Rome, Italy, due to cultural and financial reasons.

Arteni never returned to his native land, but the imprint of the country never left his sense of self.[5]

After a few weeks, in 1971 at the age of 24, Arteni enrolled in the Accademia di Belle Arti di Roma, where he studied with Luigi Montanarini and Sandro Trotti, both celebrated painters.[citation needed] On the very first day of class he met Myriam Sánchez Posada, a fellow student from Colombia.[citation needed] They became inseparable and married in 1975. In the words of Arteni, "together we wandered into the labyrinth of art".[citation needed]

At this point in his career, Arteni increased his emphasis on abstract forms in his painting, while continuing his exploration of line, color, and composition.

In Rome, between 1972 and 1974 he thoroughly explored Italian painting and art and worked for the Romanian broadcast of Vatican Radio as a redactor and art historian. He wrote, produced, and broadcast 61-episode series on Christian Art in Europe. In this time period, he exhibited some of his first works and published some of the results of the research he and Myriam made on materials and techniques of painting, authoring over 40 papers published by the International Council of Museums,[6] on techniques, individual artists, materials and the theory of art. These investigations were presented in the form of scientific papers at various international conferences, and are currently being used in several European teaching institutions.

In 1977, Arteni and his wife Myriam, herself an award-winning painter and skilled fine art book-maker, left Rome and moved to New York City, where they established themselves and lived together for the remainder of his life until his death in 2020 at the age of 72, due to a sudden and aggressive form of cancer.

Career[edit]

Arteni continued his informal studies of art at several universities in New York, but as a formal student he studied at Chinese, Korean, and Japanese calligraphy. He pursued his education in art history, fine arts, icon and mural painting, and the restitution and conservation of architectural monuments.

Arteni became a student of Tanaka Setsuzan,[7] a Living Master and President of the Nihon Shodo Geijutsu Kyokai[8] (the Japanese Calligraphy Art Association), founded by Kamijo Shinzan, one of the greatest calligraphers of Japan.

He pursued studies in architecture, art, history, fine arts, icon and mural painting, and the restitution and conservation of architectural monuments. He was also proficient in several languages including Romanian, English, Spanish, French, Italian, Japanese, Russian, Latin, Greek, and German.

Building upon Hesychast and Zen spirituality, Ștefan Arteni, who sometimes used the sobriquet Kyosen (Crazy Hermit), also taught calligraphy: dwelling in art, stilling the mind, enstasis and meditation with the brush.

Arteni described the process of painting as second-order cybernetics in action. The appropriate epistemology is constructivist. The ludic ritual act of the performance event creates form.

Arteni's work echoes the myth of Ulysses, it is a quest leading the artist to address the intersection of art and meditative spirituality at the heart of form.

Awards[edit]

In 2005, Arteni was awarded the highest rank in Japanese calligraphy, the title of Shihan, an honorific title used to refer to Master Teachers or masters of a specific style. He is the only non-Japanese artist to earn the title, to date. According to the ancient custom, along with his promotion to the rank of master came the bestowing of a new calligraphy name, Geizan, which translates from Japanese as "Art Mountain". The name was given to Arteni by Tanaka Setsuzan.

During this period, Arteni was also the first western artist to be awarded the title of Master Seal Carver. His seals have been favorably compared to Qi Baishi's, the President of the China Artists Association, whose artistic style showed no signs of western influence.

In competitions organized by the Japan Calligraphic Art Academy in Tokyo and the Japan Calligraphy Center in Los Angeles, Arteni was awarded the Japan Foreign Minister's Grand Prize for Calligraphy in 1996 and 2005, the Silver Award for Kana in 1999, and the Grand Prize for Calligraphy of the Japanese Consul in 2002.

Works[edit]

Arteni has extensively exhibited calligraphies and paintings throughout Europe, the United States and in Japan, Korea, China and Taiwan, with over 50 exhibitions.[9] His works are in numerous prestigious private, public and corporate collections.[10] In addition, Arteni frequently provided demonstrations and lectures on many aspects of his work.[11] He participated in numerous international conferences and expositions over the years.

DEPOSITION - Oil Canvas from "The Way of Form" - Retrospective Exhibition in New York
DEPOSITION - Oil Canvas from "The Way of Form" - Retrospective Exhibition in New York
Year Title Location
1973 "Mostra Personalle de Pittura" Galleria La Papessa, Rome, Italy
1973 "Mostra Personale di Myriam Sánchez Posada e Ștefan Arteni" Galleria L'Accento, Rome, Italy
1974 "L'Arte Giapponese in Italia" Foreign Press Club (Rome)
1990 "Art in Exile" Manhattan East Gallery (New York)
1991 Unknown Manhattan East Gallery (New York)
1992 Unknown Manhattan East Gallery (New York)
1995 Unknown Golden West College Galleries (Huntington Beach, California)
1995 Unknown Sumner Museum (Washington, DC)
1996 Unknown Doizaki Galleries (Los Angeles)
1996 Unknown Seton Hall University Galleries (South Orange, New Jersey)
1997 Unknown Doizaki Galleries (Los Angeles)
1997 Unknown Tweed Museum (Duluth, Minnesota)
1997 "East and West. Allegories" Kobe Art Hall (Kobe, Japan)
1998 Unknown Mansfield Freeman and Davison Center for the Arts, Wesleyan University (Middletown, Connecticut)
1998 Unknown Doizaki Galleries (Los Angeles)
1999 Avant-garde Oriental Calligraphy Doul Art Center (Seoul)
1999 Unknown Doizaki Galleries (Los Angeles)
1999 "Scroll Fragments" Kobe Art Hall, (Kobe, Japan)
1999 "The Sign of the Logos" St. Mark's Library, The General Theological Seminary (New York)
1999 "Brushpaths" The General Theological Seminary (New York)
2000 Unknown Doizaki Galleries (Los Angeles)
2000 "Ink 2000" Newhouse Salon, (Brooklyn, New York)
2000 "Orpheus" St. Mark's Library Seabury Hall, The General Theological Seminary (New York)
2000 "A New Perspective on Contemporary Calligraphy: A Dialogue with 
Modern Sinitic Writing  Art"
Taiwan Museum of Art and Seaport Art Center (Taichung, Taiwan)
2001 Unknown Doizaki Galleries (Los Angeles)
2001 "Contemporary Calligraphy Masters, Representatives and Invitational Exhibition" Tokyo Ginza Gallery Museum (Tokyo)
2002 Unknown Doizaki Galleries (Los Angeles)
2003 Unknown Tokyo Ginza Gallery Museum (Tokyo, Japan)
2003 "Art of Ink 2003" Shaanxi History Museum (Xi'an, China)
2004 Unknown Doizaki Galleries, (Los Angeles)
2004 "Art of Ink 2004" Mobile Museum of Art (Mobile, Alabama)
2004 "Mulpa International Exhibition" Mulpa Art Center (Seoul, Korea) and Seoho Museum (Seoul, Korea)
2004 "Yusho Ten" Tokyo-Geijyutu-Gekijyo (Tokyo, Japan)
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
2005 - 2006 "The Way of Form" - Retrospective Exhibition[12] Q.C.C. Art Gallery, C.U.N.Y., New York
2006 Collective Exhibition "The World Calligraphy Festival" International Modern Calligraphy Exhibition, Gong-Pyung Art Center, Seoul, Korea)
2007 "Art of ink" Association Culturelle Franco-Japonaise de TENRI - Espace Culturel Bertin Poirée, Paris, France
2008 "On the Borderline" National Seoul Art Center, Seoul, Korea
2008 "Art of Seal Carving in America 2008" Irvine Fine Arts Center, Irvine, California
2009 "Calligraphy Trends Sprouting in Europe" Sori Arts Center of Jeollabuk-do, Jeonju, South Korea
2009 "Ashdown Forest" New York Public Library
2011 "Art of Ink" Chiang Mai University, Thailand
2012 "Brushed Voices" (Art of Ink) Shelter Rock Art Gallery, Unitarian Universalist Congregation, Manhasset, NY
2013 9th World Calligraphy Biennale of Jeollabuk-do Sori Arts Center of Jeollabuk-do, Jeonju, South Korea
2013 "Art of Ink in America: Gesture and Beyond" Godwin-Ternbach Museum, Queens College, NY
2014 "Art of Ink in America" Alexey von Schlippe Gallery of Art, University of Connecticut
2017 Unknown La National, Spanish Benevolent Society of New York
2018 "Composition" Saphira & Ventura Gallery, Midtown NYC
2022 "Time Waits For No Man" Miyako Hotel & Hammerfriar Gallery, California

Publications and lecture demonstrations[edit]

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),[13] 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); and Saint Mark Library, General Theological Seminary, New York (1999).[14]

He concentrated his research on the pictorial fact and procedural switches between formal contextures, the ludic ritual act of 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.

Arteni is also the first Western artist to master the art of seal cutting and is co-founder of Sol Invictus Press (sol invictus means invincible sun, which is a reference to the last Roman god before the Christianization of the Roman Empire). Many of their creations have been included in the Bodleian Library at Oxford University. These works extensively detailed Arteni's fascination and love of calligraphy from different cultures.

He has also pioneered the art of sumi ink monoprinting and large-size seal cutting, and has explored and expanded the horizon of clay monoprinting. In addition to painting and calligraphy, Arteni demonstrated his excellence in drawing, printmaking and collage. He also expanded his art into new materials, including alkyds, gouache, watercolor and red seal paste.

His limited-edition published books have been widely exhibited:

Year Location
2022 Symbiosis of Script, Font, and Form: A Selection of Artists’ Books - Laudes Creaturarum - Bridwell Library Special Collections
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 Retrospective of Artist's Books and Related Materials - St. Mark's Library, The General Theological Seminary (New York)
The Horticultural Society of New York (New York)
1997 Center for Book Arts (New York)
Marymount College (New York)
1996 F. I. R. A. (Montreal)
Soho Biennial (New York)
The Center for Book Arts (New York)
1993 The Armory (New York)
Andrew Melon Auditorium (Washington, DC)
The Corcoran (Washington, DC)
Phoenix Public Library (Phoenix, Arizona)
1992 Humphrey Gallery (New York)
Bibliography
Year Books
2020 Don Quixote - 12 paintings[15]
2019 Stories Of Ulysses[16]
2019 The Return Of Ulysses[17]
2019 The Form Of The Form[18]
2019 Rebellion[19]
2019 The Calligraphy Of Stefan Arteni[20]
2013 Mioriţa: dosarul mitologic al unei capodopere (Romanian)[21]
2013 Mioritic poems[22]
2013 Rebellion = Rebeldía[23]
2010 Mioriţa: un dosar mitologic (Romanian)[24]
2009 Mic tratat de estetică teologică[25]
2007 The return of Ulysses[26]
2005 The way of form[27]
1997 Fool of a cat...: haiku[28]
1996 Paper, art & the book: Center for Book Arts, New York City[29]
1996 Apocalypse[30]
1996 Studies and proofs for Laudes creaturarum (Italian)[31]
1996 Studies for Cantique de Saint Jean[32]
1992 Laudes creaturarum
1981 The medium and grounds of 17th century Flemish and Dutch pictures of flowers[33]
Year Articles
1988 The essential dilemma of contemporary painting[34]
1988 Drawing materials water-base mediums[35]
1984 Materials of the artist, the survival of traditional grounding and priming methods for oil painting[36]
1984 Glas sub-surface painting in Romania, seventeenth to twentieth centuries[37]
1984 Critical evaluation of data on the composition of ancient materials. P 1: Structural components of painter layer. P 2: Paints and technics[38]
1984 The secret of masters: Historical controversies and hypotheses[39]
1984 From Handcraft to Mass production: notes on the manufacture of oil painting materials[40]
1984 Critical ealuation of data on the composition of ancient materials: part. I: Structural components of the paint layer: part. II: Paints and techniques[41]
1984 The secret of the Masters: historical controversies and hypotheses[42]
1981 The medium et grounds of 17th century Flemish et Dutch pictures of flowers[43]
1981 Two retouching media[44]
1981 Painter, manufacturer of artists' materials, and conservator: historical and aesthetic significance of their role in the survival of a painting[45]
1981 Painter, manufacturer of artists' materials and conservator: historical and aesthetic significance of their role in the[46]
Year Translations
2007 Fanny Sanín: la struttura cromatica[47]

Arteni's stylistic matrix consists of the interplay of Byzantine tradition, Western formal procedures, and Far Eastern calligraphy and seal-carving methods, a simultaneous plurality of interwoven recursive and permutative differences.[48]

References[edit]

  1. ^ "Ștefan Arteni: de la caligrafia japoneză la pictura în stil bizantin". Observator Cultural (in Romanian). Retrieved 2021-09-20.
  2. ^ "Liceul de Arte Plastice "Nicolae Tonitza" București". www.liceultonitza.ro. Retrieved 2021-09-20.
  3. ^ "Home - UAUIM". www.uauim.ro. Retrieved 2021-09-20.
  4. ^ Culceraprilie 12, Dan; Pm, 2021 La 12:17. "Ștefan Arteni: o viață trăită între idee, imagine și logos". Observator Cultural (in Romanian). Retrieved 2021-09-20.{{cite web}}: CS1 maint: numeric names: authors list (link)
  5. ^ "Despre lungul drum al lui Ștefan Arteni de la caligrafia japoneză la icoana bizantinăȚtrans-title=About Stefan Arteni's long journey from Japanese Calligraphy to Byzantine Icons". Observator Cultural (in Romanian). Retrieved 2021-09-22.
  6. ^ "MOCA: the Museum of Computer Art". moca.virtual.museum. Retrieved 2021-09-20.
  7. ^ "StefanArteniAndCalligraphy_1". pdfcoffee.com. Retrieved 2021-09-20.
  8. ^ Yu, A. C. "Calligraphy history in Japan - Japanese Wiki Corpus". www.japanese-wiki-corpus.org. Retrieved 2021-09-20.
  9. ^ "Stefan Arteni". Saatchi Art. Retrieved 2021-09-20.
  10. ^ "StefanArteni Biography November2014 | PDF | Calligraphy | Collage". Scribd. Retrieved 2021-09-20.
  11. ^ Arteni, Stefan. "StefanArteni&MyriamSanchezPosadadeArteni_(In)formation". {{cite journal}}: Cite journal requires |journal= (help)
  12. ^ Arteni, Stefan. "StefanArteni_TheWayOfFormRetrospectiveExhibition_revised.pdf". {{cite journal}}: Cite journal requires |journal= (help)
  13. ^ "ICOM-CC Publications Online". www.icom-cc-publications-online.org. Retrieved 2021-09-20.
  14. ^ "Feimo artist profile". www.wishingwell.it. Retrieved 2021-09-20.
  15. ^ Arteni, Stefan (2020-02-14). Don Quixote de Stefan Arteni | Libros de Blurb España (in Spanish). ISBN 978-1-714-42699-7.
  16. ^ Arteni, Stefan (2019-10-29). Stories Of Ulysses de Stefan Arteni | Libros de Blurb España (in Spanish). ISBN 978-1-714-15473-9.
  17. ^ Arteni, Stefan (2019-09-08). The Return Of Ulysses de Stefan Arteni | Libros de Blurb España (in Spanish). ISBN 978-0-464-30413-5.
  18. ^ Arteni, Stefan (2019-08-02). The Form Of The Form de Stefan Arteni | Libros de Blurb España (in Spanish). ISBN 978-0-464-14196-9.
  19. ^ Franco, Rafael Posada (2019-06-24). Rebellion de Rafael Posada Franco | Libros de Blurb España (in Spanish). ISBN 978-0-368-98821-9.
  20. ^ Arteni, Stefan (2019-12-26). The Calligraphy Of Stefan Arteni de Stefan Arteni | Libros de Blurb España (in Spanish). ISBN 978-1-714-19997-6.
  21. ^ Ursache, Petru; Arteni, Ştefan (2013). Mioriţa: dosarul mitologic al unei capodopere (in Romanian). Iasi: Opera Magna. ISBN 978-973-88777-3-3. OCLC 1043309851.
  22. ^ Blaga, Lucian; De Arteni, Myriam S. P; Henders, Ray; Arteni, Stefan; Sol Invictus Press (2013). Mioritic poems. OCLC 903170228.
  23. ^ Franco, Rafael Posada; De Arteni, Myriam S. P; Henders, Ray; Arteni, Stefan; Sol Invictus Press (2013). Rebellion = Rebeldía. OCLC 903170412.
  24. ^ Ursache, Petru; Arteni, Ştefan (2010). Mioriţa: un dosar mitologic (in Romanian). Iaşi: Demiurg. ISBN 978-973-152-183-1. OCLC 895487222.
  25. ^ Ursache, Petru; Arteni, Ştefan (2009). Mic tratat de estetică teologică (in Romanian). Cluj-Napoca: Eikon. ISBN 978-973-757-266-0. OCLC 895409520.
  26. ^ Arteni, Stefan; De Arteni, Myriam S. P (2007). The return of Ulysses. Jackson Heights, New York, N.Y.: Sol Invictus. OCLC 863593836.
  27. ^ Arteni, Stefan; QCC Art Gallery (2005). Stefan Arteni: the way of form. OCLC 980302931.
  28. ^ 小林一茶; Mackenzie, Lewis; De Arteni, Myriam S. P; Arteni, Stefan; Sol Invictus Press (1997). Fool of a cat ...: haiku (in Italian). Jackson Heights, New York, N.Y.: Sol Invictus. OCLC 727829389.
  29. ^ Silverberg, Robbin Ami; Koretsky, Donna; Hannon, Brian; Center for Book Arts (New York, N.Y.) (1996). Paper, art & the book: Center for Book Arts, New York City, September 28-December 7, 1996. New York: The Center. OCLC 36024506.
  30. ^ Arteni, Stefan; De Arteni, Myriam S. P (1996). Apocalypse. New York: S. Arteni. OCLC 863623405.
  31. ^ Arteni, Stefan (1996). Studies and proofs for Laudes creaturarum (in Italian). New York. OCLC 863623475.{{cite book}}: CS1 maint: location missing publisher (link)
  32. ^ Arteni, Stefan (1996). Studies for Cantique de Saint Jean. New York. OCLC 863623377.{{cite book}}: CS1 maint: location missing publisher (link)
  33. ^ Arteni, Stefan C (1981). "The medium and grounds of 17th century flemish and dutch pictures of flowers". Atti del Convegno sul restauro delle opere d'arte, Firenze, 1981: 59–62. OCLC 908497211.
  34. ^ Arteni, Stefan C (1988). "The essential dilemma of contemporary painting". Conservation-restoration of Leather and Wood Training of Restorers, Budapest, 1988.: 443–448. OCLC 908497560.
  35. ^ Arteni, Stefan C; De Arteni, Myrian Sanchez-Posada (1988). "Drawing materials water-base mediums". Conservation-restoration of Leather and Wood Training of Restorers, Budapest, 1988.: 449–456. OCLC 908497561.
  36. ^ Arteni, Stefan C (1984). "Materials of the artist, the survival of traditional grounding and priming methods for oil painting". 7th Triennial Meeting Copenhagen, 10–14 September 1984. OCLC 1101171393.
  37. ^ Arteni, Stefan C (1984). "Glas sub-surface painting in Romania, seventeenth to twentieth centuries". 7th Triennial Meeting Copenhagen, 10–14 September 1984. OCLC 1101182379.
  38. ^ Arteni, Stefan C (1984). "Critical evaluation of data on the composition of ancient materials. P 1: Structural components of painter layer. P 2: Paints and technics". 7th Triennial Meeting Copenhagen, 10–14 September 1984. OCLC 1101184048.
  39. ^ Arteni, Stefan C (1984). "The secret of masters: Historical controversies and hypotheses". 7th Triennial Meeting Copenhagen, 10–14 September 1984. OCLC 1101184329.
  40. ^ De Arteni, Myrian Sanchez-Posada; Arteni, Stefan C (1984). "From Handcraft to Mass production: notes on the manufacture of oil painting materials". 7th Triennial Meeting / ICOM Committee for Conservation, Paris, 1984: 1–6. OCLC 908497550.
  41. ^ De Arteni, Myrian Sanchez-Posada; Arteni, Stefan C (1984). "Critical ealuation of data on the composition of ancient materials: part. I : Structural components of the paint layer : part. II : Paints and techniques". 7th Triennial Meeting / ICOM Committee for Conservation, Paris, 1984: 2–7. OCLC 908497263.
  42. ^ De Arteni, Myrian Sanchez-Posada; Arteni, Stefan C (1984). "The secret of the Masters: historical controversies and hypotheses". 7th Triennial Meeting / ICOM Committee for Conservation, Paris, 1984: 12–15. OCLC 908497489.
  43. ^ Arteni, Stefan C (1981). "The medium et grounds of 17th century Flemish et Dutch pictures of flowers". Atti del Convegno sul restauro delle opere d'arte, 1. Testo.: 59–62. OCLC 888134348.
  44. ^ Arteni, Stefan C (1981). "Two retouching media". Atti del Convegno sul restauro delle opere d'arte, Firenze, 1981: 63–65. OCLC 908497081.
  45. ^ Arteni, Stefan C; De Arteni, Myrian Sanchez-Posada (1981). "Painter, manufacturer of artists' materials, and conservator: historical and aesthetic significance of their role in the survival of a painting". 6th triennial Meeting, Ottawa, [1981]. OCLC 908497589.
  46. ^ Sanchez-Posada de Arteni, Myriam; Arteni, Stefan C (1981). "Painter, manufacturer of artists' materials and conservator: historical and aesthetic significance of their role in the". 6th Triennial Meeting, Ottawa 1981 / ICOM Committee for Conservation. 2 (81/11/2). OCLC 611030560.
  47. ^ Sanín, Fanny; Italo Latin American Institute (2007). Fanny Sanín: la struttura cromatica, 1974-2007, Dicembre 2007-Gennaio 2008 = the chromatic structures, 1974-2007, December 2007-January 2008. OCLC 858291045.
  48. ^ "Member Profile: Stefan Arteni | Libros de Blurb España". Blurb (in Spanish). Retrieved 2021-09-22.
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