Artistic embellishments sculptures at the Marson’s House in Negrisia di Ponte di Piave ( Treviso ).
High relief made directly on the wall with plastic stucco in 1993. The overall dimensions are approximately 2.5 linear meters by 1.5 vertical meters. The subjects are figurative and dedicated to music and the cornucopia, symbol of abundance.
The work was treated with a homogeneous color which enhances its high relief.
The human figure, in the forms of cherubs and girls, is Mario Eremita’s favorite subject. Humanity integrally runs through the entire imagination of this artist: from grace to the apocalypse
It is only in this way that one can approach a reading and an in-depth analysis of the value and meaning of Eremita’s art; observing it and welcoming it in all its articulation and vastness.
Artistic embellishments by Mario and Michelangelo Eremita at House Carlo Goldoni in Venezia.
Restored in 2010, Casa Carlo Goldoni is the result of the collaboration of the architect and artist Michelangelo Eremita and the artist Mario Eremita.
The architect Michelangelo Eremita designed this precious home and also personally created some decorative and design elements.
He designed and built the kitchen, covered with panels decorated with silver finishes that reproduce the theme of the reeds of the Venetian lagoon; the living room table, made up of an opus sectile mosaic of precious wood essences that reproduces the theme of the Venetian lagoon. He designed and assembled the chairs and the large bench in mahogany and steel, works of particular design.
Finally he designed and built the opus sectile mosaic in fine marble at the foot of the staircase, a work that represents the girl “Ester” and the two plaster sculptures that enrich the bedroom. The artist Mario Eremita dedicated himself exclusively to the bedroom, creating the headboard of the bed painted with the theme of children and the cornucopia and painting the furniture doors with the theme of the four seasons. Ingenuity and culture of art and design collaborated to create this pied-à-terre in the heart of Venice.
Bronze sculpture-monument lost wax casting, Bondeno di Ferrara
The project invlolves the creation from the cast of 9 specimens of which 3 are author’s proof. The first author’s proof was donated by the artist to the Parish of Merlengo ( Treviso Italy ).
The one exhibited here is the 2/9 example created in 2006 for a provate collector who installed it in the park of his villa.
In addition to the sculpture, the artist also designed the base, all in corten steel. It recalls the profession of the client and some symbolic objects including: the cosmic crosses; the sun; the moon; the zodiac signs of the client’s family; the horns of plenty.
Currently, the last seven examples must be created, including an author’s proof, they will be created only on commission.
Each example, being the artwork created in 9 copies of which three are proofs of the author, is, according to the conventions and customs of the art market, to be considered a unique piece.
Critical note
Reading key; bottom up.
Critical note
A majestic vegetal column screwed in a delicate spiral movement that recalls the basic chemistry of life, supports the sensual body of the eternal girl.
The body is magnificently tense and intent on tireless attachment. This artwork is an imposing affirmation of being, in its completeness.
The woman’s face is enraptured, dismayed to observe how, as soon as there are the slightest conditions, life takes root and grows, tenacious, strong, aggressive.
Finally, in a few instant centimeters the perspective escape, the climax, develops. The girl’s head contrasts with the solidity of her body. It flees from earthly life; leads to the extreme end.
Here is a vital form deformed by the abstract interprenetation of thought, which seeks afterlife and mystical confusion. The face is tense, the bones evident, the eye sockets empty, the skull stretched upwards; therefore no longer pushed from below but absorbed upwards.
However, there is something more. Generally it can be said that everything is there; and in fact it is so. This enormous vegetal column from which emerges, with a powerful dynamic spiral, the sensual body of the female intent on breastfeeding. It is a vital meaning: the roots, the tree of life, the spiral of life, the sumptuous and full forms of the woman who generates life, the powerful hips, the turgid chest; these are strong and unmistakable sexual appeals.
Sexuality is the key to life, sexual pleasure for humanity is the reward of life. Woman is at the center of sexuality. There is no symmetry between men and women. Woman is the meaning of life and for the artist she is the only hope of redemption.
The child in the mother’s arms has grown, has passed the age for breastfeeding but still depends on the mother’s breast. Once upon a time, ignorance, deprivation and poverty forced mothers to prolong breastfeeding.
The sculpture’s only truly symbolic quotation, this delicate testimony to the past also has a threatening meaning; perhaps a vital obsession: the dismay in observing how, as soon as the minimal conditions exist, life takes root and is tenacious, strong, aggressive.
Finally, observe the perspective escape. It is already present, in the climax, in the arms and hands: they become slender, thread-like, abstract. They contrast with bodily solidity, they want to disengage from earthly life. The woman’s face and head brong this “escape” to an end.
The figure here is no longer a vital form but is deformed by the abstract interpenetration that wants to bring impetus to the search for the supposed afterlife or mystical bewilderment. The face takes on extreme aspects and the skin is tense and makes the bones evident, the eye sockets already appear empty, the skull is stretched upwards, as if absorbed by a mysterious force of attraction, towards the sky, the unknown, the final answer:
The associated artists of CAOS propose themselves for the design and creation of celebratory and commemorative monuments. The theme is the result of consultation with the client and an in-depth philological examination aimed at identifying the formal, symbolic, allegorical and content charactheristics of the work.
The predilection for figurative themes, which therefore give centrality to the human figure, does not preclude the possibility of abstract creations, in particular thanks to the collaboration with the architect-artist Michelangelo Eremita who developed this particular genre of formalism.
About the appropriateness of art in everyday life
In history, beauty is a relative aesthetic attribute or value, linked to human civilizations in their evolution. It is not an absolute value.
In art, beauty underlies the artist’s ability to build a coherent system of abstract meanings, concepts and values and also underlies the ability to transmit them intact and with extreme synthesis and effectiveness such as to directly reach those who are able to grasp them.
Art does not need to be explained, it does not need to be translated or interpreted; art can be read, understood, welcomed, loved; but in it, beauty is an absolute value.
Art does not transmit subjective values, it is not ethical; it refers to basic and fundamental, mysterious rules, linked to illusion, lies, dreams, perhaps to our ancestral fears.
For this reason, beautiful expressions of art contain messages that can be grasped at any time and everywhere, assuming traits of absoluteness or giving the illusion of it.
The questions we must ask ourselves and ask our children today are the following: “how much art knowledge is there in us?”; “how much of this knowledge is at the service of mankind?”
A real reflection is needed on the need to conquer a human society based on knowledge ad art; therefore an objectively beautiful society.
Attention towards art from early age must be cultivated in our children. We must take children to museums, to art galleries, we must demand that schools provide teachers od Art History and not just Drawing; we must expect these teachers to transmit a love for art.
Understanding art means knowing how to see and knowing how to see is a difficult goal to achieve; sometimes one life is not enough. We must therefore show the way to young people so that they can choose.
Hypotheses and projects for a renaissance of the arts
Today, not only Religious Institutions of Private Collectors but also and perhaps above all, Public Administrators, play an important function in developing people’s sensitivity towards art. They have the possibility of mending a huge fracture that has been created between the people and contemporary art since the 20th century.
Art must return close to people to lay the foundations for its rebirth. In the planning of master plans, residential areas and in the future redesign of the disheartening industrial areas, recently discouraged by natural disasters, we must return to placing man and humanity at the center and this also passes through careful research and selection of artists capable of carrying out artworks that make the community cohesive. Artworks around which the human community can rally, exactly as happened in our Renaissance with the contribution of the Church but also of enlightened and aware Dominants, such as Federico Da Montefeltro os Sigismondo Malatesta or Lorenzo Dei Medici.
Such work has strong political underpinnings; whoever wants to take in this pleasant and exciting responsibility will get the history. Whoever is able to enrich the community with what is created for it and not what is built for a claimed honor to the “art” itself will have created a thousand possibilities for his fellow citizens.
In these pages we wanted to present some sketches of great artworks for the sole purpose of giving an idea of the possibilities offered by the imagination of the artist Mario Eremita and the architect-artist Michelangelo Eremita.
Wild Horses
Here is the sketch for the “Wild Horses” sculpture. It is a bronze sculpture in which Murano glass elements are inserted. The horses are suspended in this bronze and glass frame which in turn represents the tree of life.
The horses trot on the branches of the tree of life which also seem to resemble the waves of the sea. It is an idea of very strong dynamism and great brightness that creates a positive, encouraging, stimulating, climate, favorable to sociality, conviviality and optimism, trust and an idea of progress accompained by development.
The artworks of authentic artists are always linked to the human community that appreciates them and makes part of the references of everyday life. When things are like this, the foundations have been laid for a comparison with history, with time and with the possibility of social and cultural development of a community.
The associated artists of CAOS propose themselves for the design and creation of celebratory and commemorative monuments. The theme is the result of consultation with the client and an in-depth philological examination aimed at identifying the formal, symbolic, allegorical and content charactheristics of the work.
The predilection for figurative themes, which therefore give centrality to the human figure, does not preclude the possibility of abstract creations, in particular thanks to the collaboration with the architect-artist Michelangelo Eremita who developed this particular genre of formalism.
About the appropriateness of art in everyday life
In history, beauty is a relative aesthetic attribute or value, linked to human civilizations in their evolution. It is not an absolute value.
In art, beauty underlies the artist’s ability to build a coherent system of abstract meanings, concepts and values and also underlies the ability to transmit them intact and with extreme synthesis and effectiveness such as to directly reach those who are able to grasp them.
Art does not need to be explained, it does not need to be translated or interpreted; art can be read, understood, welcomed, loved; but in it, beauty is an absolute value.
Art does not transmit subjective values, it is not ethical; it refers to basic and fundamental, mysterious rules, linked to illusion, lies, dreams, perhaps to our ancestral fears.
For this reason, beautiful expressions of art contain messages that can be grasped at any time and everywhere, assuming traits of absoluteness or giving the illusion of it.
The questions we must ask ourselves and ask our children today are the following: “how much art knowledge is there in us?”; “how much of this knowledge is at the service of mankind?”
A real reflection is needed on the need to conquer a human society based on knowledge ad art; therefore an objectively beautiful society.
Attention towards art from early age must be cultivated in our children. We must take children to museums, to art galleries, we must demand that schools provide teachers od Art History and not just Drawing; we must expect these teachers to transmit a love for art.
Understanding art means knowing how to see and knowing how to see is a difficult goal to achieve; sometimes one life is not enough. We must therefore show the way to young people so that they can choose.
Hypotheses and projects for a renaissance of the arts
Today, not only Religious Institutions of Private Collectors but also and perhaps above all, Public Administrators, play an important function in developing people’s sensitivity towards art. They have the possibility of mending a huge fracture that has been created between the people and contemporary art since the 20th century.
Art must return close to people to lay the foundations for its rebirth. In the planning of master plans, residential areas and in the future redesign of the disheartening industrial areas, recently discouraged by natural disasters, we must return to placing man and humanity at the center and this also passes through careful research and selection of artists capable of carrying out artworks that make the community cohesive. Artworks around which the human community can rally, exactly as happened in our Renaissance with the contribution of the Church but also of enlightened and aware Dominants, such as Federico Da Montefeltro os Sigismondo Malatesta or Lorenzo Dei Medici.
Such work has strong political underpinnings; whoever wants to take in this pleasant and exciting responsibility will get the history. Whoever is able to enrich the community with what is created for it and not what is built for a claimed honor to the “art” itself will have created a thousand possibilities for his fellow citizens.
In these pages we wanted to present some sketches of great artworks for the sole purpose of giving an idea of the possibilities offered by the imagination of the artist Mario Eremita and the architect-artist Michelangelo Eremita.
Consumerism
A controversial topic is that of consumerism. A concrete column in which bronze elements are inserted that tell of the discomfort of the consumer society, represented by the lower part; while in the upper part the children embody hope in the future in which they themselves will be bearers of development as well as progress, and they will look with irony at that past on which they will also pour water, symbol of the rebirth of life.
The artworks of authentic artists are always linked to the human community that appreciates them and makes part of the references of everyday life. When things are like this, the foundations have been laid for a comparison with history, with time and with the possibility of social and cultural development of a community.
The associated artists of CAOS propose themselves for the design and creation of celebratory and commemorative monuments. The theme is the result of consultation with the client and an in-depth philological examination aimed at identifying the formal, symbolic, allegorical and content charactheristics of the work.
The predilection for figurative themes, which therefore give centrality to the human figure, does not preclude the possibility of abstract creations, in particular thanks to the collaboration with the architect-artist Michelangelo Eremita who developed this particular genre of formalism.
About the appropriateness of art in everyday life
In history, beauty is a relative aesthetic attribute or value, linked to human civilizations in their evolution. It is not an absolute value.
In art, beauty underlies the artist’s ability to build a coherent system of abstract meanings, concepts and values and also underlies the ability to transmit them intact and with extreme synthesis and effectiveness such as to directly reach those who are able to grasp them.
Art does not need to be explained, it does not need to be translated or interpreted; art can be read, understood, welcomed, loved; but in it, beauty is an absolute value.
Art does not transmit subjective values, it is not ethical; it refers to basic and fundamental, mysterious rules, linked to illusion, lies, dreams, perhaps to our ancestral fears.
For this reason, beautiful expressions of art contain messages that can be grasped at any time and everywhere, assuming traits of absoluteness or giving the illusion of it.
The questions we must ask ourselves and ask our children today are the following: “how much art knowledge is there in us?”; “how much of this knowledge is at the service of mankind?”
A real reflection is needed on the need to conquer a human society based on knowledge ad art; therefore an objectively beautiful society.
Attention towards art from early age must be cultivated in our children. We must take children to museums, to art galleries, we must demand that schools provide teachers od Art History and not just Drawing; we must expect these teachers to transmit a love for art.
Understanding art means knowing how to see and knowing how to see is a difficult goal to achieve; sometimes one life is not enough. We must therefore show the way to young people so that they can choose.
Hypotheses and projects for a renaissance of the arts
Today, not only Religious Institutions of Private Collectors but also and perhaps above all, Public Administrators, play an important function in developing people’s sensitivity towards art. They have the possibility of mending a huge fracture that has been created between the people and contemporary art since the 20th century.
Art must return close to people to lay the foundations for its rebirth. In the planning of master plans, residential areas and in the future redesign of the disheartening industrial areas, recently discouraged by natural disasters, we must return to placing man and humanity at the center and this also passes through careful research and selection of artists capable of carrying out artworks that make the community cohesive. Artworks around which the human community can rally, exactly as happened in our Renaissance with the contribution of the Church but also of enlightened and aware Dominants, such as Federico Da Montefeltro os Sigismondo Malatesta or Lorenzo Dei Medici.
Such work has strong political underpinnings; whoever wants to take in this pleasant and exciting responsibility will get the history. Whoever is able to enrich the community with what is created for it and not what is built for a claimed honor to the “art” itself will have created a thousand possibilities for his fellow citizens.
In these pages we wanted to present some sketches of great artworks for the sole purpose of giving an idea of the possibilities offered by the imagination of the artist Mario Eremita and the architect-artist Michelangelo Eremita.
Miliana Papilion Hospiton
The bronze sculpture represents a female figure dressed in a chiton and peplos woven with coral who elegantly spreads her arms while on her right hand she raises the butterfly “Papilio Hospiton” to invite it to take flight, the butterfly in question is a symbol of Sardinia and is at risk of extinction.
The bronze sculpture will be modeled in clay and subsequently prepared for lost wax bronze casting; only one example will be made, after which the clay model will be destroyed.
After the appropriate finishing touches, the statue will be polished, preserving the light encrustations of the natural green of oxidation. The base not only has the function of support but also thet of representing, in the lower part, the laurel plant, a symbol of excellence, glory and victory. It shows the grooves and decorations of vague classical reference in the carriage.
It is an artwork that proposes the instances of symbolist figurative art. The female figure is called Miliana which, in flora terminology, means rural laurel or elder.
The human figure, standing above a laurel plant which symbolizes excellence, glory and victory, has its arms open as if to imitate the gliding flight of butterflies while on the tips of the fingers of the left hand it welcomes a Papilio Hospiton, a sardinian flying insect at risk of extinction, which gently invites you to take flight. The female figure wears a chiton and peplum woven with coral, references to the preciousness of the sardinian sea.
the Venezia’s Coltrina, painting on canvas, prize of the Venezia’s Historic Regatta.
Artwork made by Mario Eremita for the Venezia’s Historical Regatta editions 2016/2020.
Genesis of the artwork
During the 2016 spring the delegate for traditions Giovanni Giusto addresses the curator of the III Millennium Art Gallery in Venezia Mr. Nicola Eremita expressing the desire to create a prize for the racers of the Hstorical Regatta. He thinks of a small banner, a handkerchief, to be given to the first place in the men’s regatta.
From that primitive idea, the curator imagines giving shape to a new venetian tradition that could be born that september 2016 and therefore continue over time. The inspiration comes from the historic Palio di Siena. Nicola Eremita therefore suggests the name of “La Coltrina di Venezia” for the artwork performed by the master Mario Eremita. It is something very different from what Giusto outlined, right something that can enrich venetian traditions by giving them a lively and contemporary edge.
The delegate Giusto informally shares the idea and the master Mario Eremita executes the artwork, therefore deciding to donate it to the Municipality of Venezia on the condition tyhat, after the exhibition on the Machina, it is permanently exhibited in an institutional loccation of public access.
In addition to the name “La Coltrina di Venezia”, Nicola Eremita also indicates a series of complementary initiatives necessary to grant continuity to the new tradition. He proposes to establish a committee for the selection of new editions of “La Coltrina di Venezia” in order to involve the artists. He therefore proposes to create over time a public space in which to permanently exhibit the artworks that would have multiplied over time and then to carry them in procession on the occasion of the Festa della Sensa, Redentore, Regata Storica, Festa di Santa Maria della Salute.
Unfortunately, all these ideas were left to fall on deaf ears, only one edition of the Coltrina was created ( that of the master Mario Eremita ) and not even the artist’s request was complied with. The Venezia’s Coltrina has remained in the office of delegate Giusto since 2016, inaccessible to the public and therefore obscured and without the recognition it deserves.
Characteristics
Piece of painted fabric dimensions 139.50 x 228.50 cm. It is made of viscose fabric with six fringes measuring 15.00 ( width ) x 10.50 ( height ) cm and six support slots in the upper part measuring 15.00 ( width ) x 6.50 ( height ) cm. The artwork is surrounded around the entire perimeter by a multicolored fabric cord with a diameter of 1 cm.
Description
The painting intends to explore the cultural traditions and symbolism of the Serenissima Republic of Venezia, the history of this territory and the cause of the existence of the lagoon city and its unparalleled contribution to the social, political and economic development of the human community. Comparable only to the civilizations of ancient Greece or China. Replaced, at the end of the eighteenth century, by the Anglo-Saxon civilization which today is the only legitimate heir of venetian splendor. In fact, the cultural connection that still keeps Venezia and New York symbolically linked today is not surprising.
The Coltrina by master Mario Eremita is characterized by a marked frontal symmetry and the hieratic pose of Venezia in homage to the bizantine ancestors. From above we can appreciate the date 1489, the year in which Queen Cornaro of Cyprus abdicated and returned to Venezia receiving a triumphal welcome on board the Bucintoro, she paraded along the Grand Canal and obtained the rank of Lady of Asolo, also retaining her title of Regina. June 6, 1489 was a memorable day and the artist wanted to dedicate this Coltrina to it.
The whole represents the Throne on which Venezia sits; it is made of the white istrian stone with which much of Venezia is built. Here then is the Winged Lion who occupies the upper part of the Throne. It is represented here not in anthropomorphic features but in the real morphological constitution of an african lion, symbol of Marco the Evangelist. Note the dry belly, the slender legs suitable for running, the ample mane. The Lion is albino in homage to the istrian stone which was the privileged material for the manufacturing of this important symbol, and also to outline the particularity and rarity of its progeny which stands out. Both of the Lion’s front paws rest on the book which contains the famous latin phrase: “pax tibi Marce Evangelista meus.” Peace be with you Marco, my Evangelist. This pose intends to represent the entirety of the venetian territory, both land and sea, and strengthen the primary intent of the Serenissima Republic which wanted diplomacy and exchange to prevail over the use of force.
The Lion stands out against the starry blue background, a tribute to the representation located on the Clock Tower. Ahead and under the Lion here is Venezia sitting regally. She wears the crown that makes her Queen of the Adriatic; wears cloaks that recall the colors of the dawn and sunset characteristic of the Lagoon; hence the red color of the flag with its typical decorations. Venezia’s pose is hieratic and decisive, set to signify its own greatness, power and regal grace; she opens her arms, exposing her jewel to the world: access to the city from the Piazzetta of Columns of San Marco and San Todaro, the Palazzo Ducale, the Marciana Library and the Basilica. In her right hand she holds the scepter with olive branches, symbol of power in peace and, in her left, the ouroboros which symbolizes the circularity of time. The blue-green womb is the color that symbolizes the water of the lagoon and on the dress of Venezia, further down, float the boats of the Historical Regatta, the Bissone, the Serenissima, the Gondolini, the Mascarete, the Pupparini, the Caorline. Further down the nizioleto with the words “Venezia Regata Storica” and the signature of the artist Mario Eremita. The frame of ivy leaves to symbolize loyalty and love and the frame of olive branches for peace frame the composition.
Analysis of the artwork
The painting has a primary symbolic intent and in particular, it interprets the quiet and confident power of the Serenissima, recalling the glory of its original maximum splendor from the 13th century onwards.
In this sense the artist wanted to refer to byzantine and renaissance painting. Byzantine in the hieratic poses in the statuary composure in the symmetries and in the expositive sequence; renaissance in the treatment of colour, in the perspective breakthrough ( the Piazzetta of San Marco ) and in the use of different levels; here there are seven: the midnight blue background, the throne, the lion, Venezia, the robes, San Marco, the boats; almost overlapping, almost level but distinctly well separated and independent although tenaciously harmonized by the sublime use of colour, nuance and half-tones.
The sensation the spectator experiences is one of power; the desire to belong to this happy symbolism conquers and involves. Particularly, the dynamism of the lion’s wings together with the fluffy mane, give the impression that the feline is in flight. The Venezia’s hairstyle then becomes a flag, unfolding downwards like a hidden river that flows into the open lagoon; hidden by the venetian dawns and sunsets intepreted by the voluminous draped sleeves.
The face is linear, fine and delicate but firm and decisive, it observes us with pride and Olympic calm. From the blue-green womb the pale and dreamlike architecture emerges while below, the colored boats move towards the Grand Canal to carry out the Regatta, floating on the dress that runs into water.
The midnight blue background just frames the top corners, highlighting the contrast between dark and light, the latter embodied by the entire venetian spirit. The artwork is unmistakably by the artist Mario Eremita whose stylistic features are original and typical: the shapes of the limbs, the ombre, the light painting, the volumes and the very delicate symbolic references present not only in the shapes but also in the colour. The way the artwork is read is from top to bottom.
artistic embellishments mural painting at Alacqua’s House Venice Mestre “Concordia et Abundantia”
Mural painting made directly on wall with special paints and 24 kt gold leaf. The overall dimensions are approximately 4 by 2.5 meters. The subjects are figurative and dedicated to music, symbol of harmony and to the horn of plenty, symbol of abundance.
The artwork was treated with shades of pink and gray to emulate the hard rhodochrosite stone, according to the wishes of the client, Mr. Alacqua.
The human figure, in the forms of cherubs and girls, is Mario Eremita’s favorite subject. Humanity integrally runs through the entire imagination of this artist: from grace to the apocalypse.
Even in commissioned artworks, which must necessarily be carried out in accordance with precise needs, the talented artist is able to express his own personal style without distorting himself, but rather by broadening the codification.
artistic embellishments, mural painting at Campello’s House, Venice “Tango”
It is a mural painting made in the house of Mrs. Francesca Campello in Venice. She is passionate about dance and in particular tango, Mrs. Campello always wanted to have with her a dedication to the profond Argentine, Rioplatense, Uruguayan and French tradition.
The composition represents three artists, two dancers intent on the tango choreography and a woman sitting next to her while she plays the bandoneon, a characteristic instrument of the milonguero tradition. The draping of the black shawl is particular and intense, which in the past was the most common accessory of venetian women.
The warm and lively shades highlight the moment of intense passion and creative tension while the starry sky recalls the desire for freedom and to fly high.
The mural was painted in a venetian residence a few steps from Piazza San Marco, in the heart of the historic city in a context of high, elegant, refined and sober tenor. With its chromatic power, the “tango” mural stands out even if the shades match those of the premises.
General photogallery artworks of interior and exterior design
Here there are all the images about the pages dedicated to interior and exterior design artworks made by Mario and Michelangelo Eremita for their clients.
