He was likely the first to use the adjective "Artistic" in the title of an etude collection. At the time, etude collections were often published with words indicating the nature or purpose of the work, such as "Characteristic," "Melodic," "Concert," or "Salon." These terms served as important messages, conveying the practical characteristics of the work to purchasers and indicating the composer's approach to the etude genre. The word "Artistic" stands in sharp contrast to the negative connotation of "etude" as "mechanical finger training." In this collection, Bertini harmonizes individual practice figures such as trills and repeated notes with his skilled compositional technique and rich inventiveness. Thus, "Artistic Etudes" can be understood as etudes that transcend the realm of practicality, possessing value in their musical structure and the development of their ideas.

This collection of 25 etudes, with each piece around 6 pages long and some extending to 10 pages, and with relatively leisurely tempos, would easily require the duration of an entire concert for a complete performance. It is ironic that, perhaps due to its scale, this monumental work among his etudes is counted as one of his least known. Each piece has a clear technical objective, and some include challenging leaps, but the texture is generally thin, lacking the radicalism seen in Alkan, Ravina, or Liszt, who will appear later in the "Grand Survey of Etudes." Instead, ideas unfold leisurely, utilizing one or more fixed figures as the theme for practice. The main figures are distributed between both hands in various ways with careful consideration during the development, and skillful modulations bring about rich variations.

Bertini preferred to begin his pieces quietly. Almost all pieces begin with p, with only three—Nos. 4, 12, and 17—starting with ff. Perhaps due to his aversion to clamor, each piece evokes a sense of solitude. It is unusual for a 19th-century composer to use moderate dynamic markings such as mp and mf only very rarely in his scores.

• No. 1 Lento, E-flat major
  An etude for left-hand arpeggios. The right hand quietly sings a long-breathed melody.
• No. 2 Allegro moderato, F major
  Its main technical objectives are arpeggios and leaps in the left-hand accompaniment. In the middle section, the arpeggios shift to the left hand, forming a dramatic episode.
• No. 3 Moderato, E-flat major
  An etude featuring polyphonic passages where one hand plays both broken chords and melody simultaneously, and hand crossing. The consistent accompaniment figure evokes rippling water.
• No. 4 Allegro moderato, E minor
  An etude for chromatic scales and repeated notes. This piece is exceptionally passionate and propulsive within the collection.
• No. 5 Allegro, C minor
  An etude where the accompaniment is played alternately by the left and right hands. In the middle section, deviations to more distant keys are repeated. In the recapitulation, the melody is ornamented.
• No. 6 Presto, A-flat major
  An etude for repeated chords and octaves. In the middle section, the octave figures are treated dialogically between the left and right hands, temporarily shifting to the distant key of E major.
• No. 7 Moderato, F major
  An etude for large arpeggios spanning two octaves. The right hand, as in No. 1, plays a leisurely, song-without-words-like melody.
• No. 8 Presto, E-flat major
  An etude for octaves and left-hand leaps. A heroic dance.
• No. 9 Moderato scherzando, B minor
  An etude for octaves and leaps. Leaps are executed as if turning the hand over, and a melody in the middle voice is played.
• No. 10 Allegro moderato, E-flat minor
  An etude where repeated note figures are played alternately by the left and right hands. The middle section in B major completely changes the atmosphere, featuring rhythmic passages with trills.
• No. 11 Allegro moderato, C-sharp major
  An etude for broken chords spanning a wide range of three octaves. In the middle section, the broken chords shift to the left hand, and the right hand plays a clear melody.
• No. 12 Allegro con brio, C major
  An etude for successive sixths, fifths, fourths, etc. These intervals are almost consistently played by the right hand.
• No. 13 Allegro moderato, E major
  An etude for hand crossing. The right and left hands rapidly alternate, taking turns playing the melodic notes.
• No. 14 Allegretto, C-sharp minor – C-sharp major
  An etude for rapid repeated octaves. The light right-hand octave figure shifts to the left hand in the middle section.
• No. 15 Lento religioso, A-flat minor
  An etude for tremolo. An octave melody emerges from the mysterious haze created by the tremolo. In the middle section, the texture becomes even thicker, reaching a dramatic climax just before the recapitulation.
• No. 16 Andante, A major
  An etude for trills. Trills are placed in both hands every two beats, and the musical idea is skillfully developed within a consistent figure.
• No. 17 Allegro vivace spiritoso, A-flat major
  An etude for hand leaps and chords. In the middle section, dotted octave rhythms appear alternately in both hands.
• No. 18 Allegro moderato, B-flat minor
  An etude for accents, highlighting the melodic line woven into the broken chords.
• No. 19 Andante, D-flat major
  An etude for playing broken chords spanning three octaves with a wide hand span, accompanying a melody. A chromatic motif appears in the middle section. In the recapitulation, the accompaniment figure changes, and the melody is ornamented.
• No. 20 Allegretto, B minor
  An etude for zigzag-shaped broken chords and a lyrical melody. The broken chord figure is successively applied to both the left and right hands, and finally played by both hands.
• No. 21 Lento-Allegretto poco andante, E major
  An etude where the accompaniment part is alternately taken by the right and left hands. The three layers—the high-register melodic part, the middle-voice accompanying chord part, and the low-register bass part—are skillfully differentiated by two hands. In the accompaniment part of the recapitulation, the opening chord, struck simultaneously, changes to an arpeggio.
• No. 22 Allegro moderato, B-flat major
  An etude for arpeggios that continuously change position.
• No. 23 Allegretto agitato, C-sharp minor
  An etude for a lyrical melody in the right hand and left-hand repeated octaves and leaps. The middle section and coda modulate to C-sharp major.
• No. 24 Allegro moderato, F-sharp minor
  An etude for an arpeggiated accompaniment rapidly repeated in the same position, and a lyrical melody. Although consistently based on the same figuration, free modulations provide diverse variations.
• No. 25 Allegretto quasi andante, C major
  An etude for repeated octaves. The score is divided into three or four staves, also serving as an etude for 'sight-reading'.