Tag: art design

da pino signori's square treviso sculptures and paintings by mario eremita

Restaurant Da Pino Signori square Treviso

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Mario Eremita’s sculptures dedicated to music and dance.

Works carried out in 1990 at the Da Pino Restaurant in Piazza dei Signori in Treviso. These are stucco bas-reliefs and 18-carat gold foil coverings. The restaurant is located within the complex of the Palazzo dei Trecento, a building dating back to 1185, completed in 1268. Inside there are suggestive barrel vaults which have been covered with 18 carat gold leaf. Plastic stucco bas-reliefs with the theme of dance and music were placed on the walls.

The artistic layout is a personal expression of the artist’s imagination in concert with the technical and formal needs of the places. The quality of time spent inside the premises of the “Da Pino” restaurant is not comparable to that spent in a conventional public place; but it comes close to the experience of visiting a museum.

The artistic embellishment of the premises offers a very stimulating dialectical perspective and makes the aesthetic experience a natural part of everyday life, allowing the enrichment of our mind; allowing reflection and contemplation, experiences with high added value.

In the past, these experiences did not have a specific and dedicated location ( museum, art gallery ); but they served as a corollary to mystical or more concrete contact with power.
Today we can bring the experience of art to community gathering places without any justification other than the intent to provide a positive emotion.

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    da pino ponti romani's street padova paintings and sculptures by mario eremita

    Restaurant Da Pino Ponti Romani street Padova

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    Example of contemporary patronage

    Giuseppe Giordano, known as Pino, is an entrepreneur of Salerno origin who has lived and worked in Veneto for over 50 years, in particular in Treviso, where he founded his two restaurants with which he aimed to give a new vision of the taste for pizza and for the other southern dishes. The laurels he received over the years did not distract him from his passion and so Pino continued to open his restaurants/pizzerias throughout the region. In 1990 Giuseppe Giordano became friends with Rinalda Truffi, curator and popularizer of the work of the artist Mario Eremita.

    rinalda truffi curator and art communicator artist mario eremita
    Rinalda Truffi art communicator

    From the relationship of mutual esteem and admiration and from the profound vocation of patronage that complements Pino’s culinary one, the idea of embellishing the premises with the works of the great artist Mario Eremita was conceived. The art virtuoso then met the cooking virtuoso and the understanding was long-lasting and solid.

    giuseppe giordano and mario eremita patronage and art

    In 1990 Mario Eremita placed his sculptures and paintings in the premises of Treviso, in Piazza dei Signori and in Viale della Repubblica. So in 2015 he took care of the entire hall of the venue in Piazza Candiani in Mestre, in 2017 he artistically embellished the venue in Via dei Ponti Romani in Padua, in 2020 he expanded the 1990 intervention in Viale della Repubblica in Treviso. Overall, it is an artistic embellishment intervention of cyclopean dimensions which has given a noteworthy cultural impact to the already high quality of Giuseppe Giordano’s work. The entrepreneur has demonstrated a visionary ability that goes far beyond common sensitivity and in particular revolutionizes the stereotyped vision of the restaurant/pizzeria; he brought the small provincial cities of the Veneto closer to the large international metropolises where everything is possible.

    A magnificent scenographic installation dedicated to Galileo Galilei

    In the heart of Padova, in Ponti Romani’s street Giuseppe Giordano has established a new restaurant “Da Pino”, inaugurated in the spring of 2017. Inside the artist Mario Eremita has carried out a very extensive artistic embellishment work with creations in bas-relief and painting (murals), he then personalized the lighting system with specific creations dedicated to nature.

    Artwork’s work in progress

    Finished artwork

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      artist mario eremita's house

      The artist’s Mario Eremita house

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      The artist’s “casa picta” in Merlengo of Ponzano Veneto ( Treviso ).

      The artist Mario Eremita purchased the property in 1983. It is a very old house, the central part probably dates back to 1200. It was remodeled over time, finally becoming part of the neighboring Venetian Villa of Queen Cornaro of Cyprus where Giovan Battista Tiepolo painted his magnificent frescoes including the famous “Flora” , now preserved at the “Bailo” Museum in Treviso. The house was in a state of complete abandonment and Eremita intended to carry out a recovery that would keep the structures and openings intact but which would allow the interiors to be completely rethought so that they were suitable for hosting his contemporary art inserts. Inside, Eremita has freed his imagination by creating a personalized environment. The following were performed:

      • wall paintings with the theme of the seasons and apotropaic symbols;
      • wall and ceiling bas-reliefs in plastic stucco with the theme of musicians, cupids, fruit, female figures, amazons, flamenco;
      • Ceiling bas-reliefs in painted concrete with the theme of dancing female figures;
      • floor mosaic “opus incertum” technique with the use of marble and granite of various colors, with the marine theme of octopuses and mermaid;
      • outdoor plastic stucco bas-reliefs with the theme of cupids and musicians.

      This creation is a free expression of the imagination of the Artist who created an environment that is an expression of his art. The life lived inside an artist’s house is not comparable to that lived in a conventional home. The artistic embellishment of the premises offers a very stimulating dialectical perspective and makes the aesthetic experience a natural part of everyday life, allowing the enrichment of the mind, reflection and contemplation; experiences with high added value.

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        studio primo piano painting sculpture by mario eremita

        Primo Piano Studio Treviso

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        Paintings, sculptures and bas-reliefs for Primo Piano Studio in Treviso

        The studio has been entirely enriched with art inserts, works by Mario Eremita and his son Michelangelo Eremita. The name of the place itself has been interpreted and inserted into a bronze sculpture.

        There are: a plastic stucco bas-relief measuring 2 meters in length and 1.2 meters in height with the theme of musicians and the cornucopia; paintings on wood dedicated to mythological themes such as “the birth of Venus”; “Venus”; “Apollo and Daphne”; “Endymion”; “Venetian Lagoon”.

        The works and themes performed are the result of philological research which aimed to associate the classic cultural references of aesthetic beauty with body care. Greek mythology was chosen for these inserts. The works were created between 1999 and 2001.

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          carlo goldoni's house sculpture and painting by mario eremita michelangelo eremita

          House Carlo Goldoni Venezia

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          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.

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            thought is action sculpture iron by michelangelo eremita

            Thought is Action

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            Corten steel sculpture concept-project monument by Michelangelo Eremita

            The architect-artist Michelangelo Eremita developed the theme “Thought is Action” which identifies and summarizes the meaning of humanity more than any other.

            He completely freed his creative potential, rethinking everything in a revolutionary and original way but on the basis of classical principles: the result is a “Dynamic Structure-Sculpture”.

            The artwork, despite the workmanship which only allows two-dimensional modelling, thanks to the superposition of seven construction levels, develops in three dimensions, acquiring a powerful scenographic effect.

            The use of rounded curved lines represents the essence of the power of the load-bearing structures and gives solidity and slenderness to the scenic system, while introducing a variable of complexity that results from the different points of view. This complexity gratifies the observer and opens the reading of the artwork to the different meanings that it conveys.

            In its side view the artwork is clearly divided into the symbolic-figurative part and the symbolic-explanatory part. The first is identified by the figurative human element which is in turn divided into two subsets.

            The first symbolic-figurative subset is represented by thought, cut negatively, the second subset is represented by action, cut positively.

            Thought is the first anthropomorphic profile, action is the second anthropomorphic profile. The first is naked, smooth and soft, it symbolizes meditation, wisdom, thought, reasoning; the second is aggressive and recalls the shapes of the Achaean helmet, symbolizing strength, dynamism, strategy, action.

            The symbolic-explanatory subset is the idealized representation of the engine of the action: the wings.

            They were created distinct and break through two-dimensionality. The structural components of the wings play the symbolic-explanatory part. The symbol of the symbolic-explanatory subset is the “flying engine” that unfolds in three dimensions to guide thought and action.

            This ingenious design has allowed us to merge in a streamlined and rapid synthesis the idea of “structural tension”, understood in the curved, tense and functional forms for load-bearing, with that of “ideal tension” understood in the figurative traits that symbolize thought and action; the point of contacts is the “flying engine” that unites the two tensions.

            The references to classical culture are homage to the principle of respect and protection of the original and formal values of art.

            Man controls action with thought and meditation which otherwise would be brutal and senseless; therefore he bends the forces of nature and puts them at his service, creating essential supporting structures to harness and multiply the strength that comes from ingenuity. Man’s pride and confidence in himself still push him to pursue new and better results, only if they maintain respect for their history and origins.

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              hymn to life 1-9 sculpture by mario eremita

              Hymn to Life 1-3 author’s proof

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              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 ).

              This large sculpture was modeled in a plaster form by the artist Mario Eremita in his Merlengos’ laboratory of Ponzano Veneto in 1992.

              The Parish Priest Don Eraldo Modolo wanted to leave to the pastoral community a significant and precious contemporary work of art that spoke directly to the hearts of the people. He therefore took up a collection to guarantee the artist’s living expenses: the artwork of the founders and the purchase of materials. Eremita received no compensation.

              The second proof of the author was acquired in 2006 by a collector from Ferrara who wanted to place it in the park of his villa. Currently, the last seven examples must be created, including an author’s proof, they will be created only on commission. Each example, being the work 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.

              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:

              God?

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                hymn to life 2-3 sculpture by mario eremita

                Hymn to Life 2/3 author’s proof

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                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:

                God?

                contact us

                  monuments concept and projects by mario eremita

                  Monument concept wild horses

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                  premise

                  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.

                  monuments concept wild horses by mario eremita

                  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.

                  monuments concept wild horses by mario eremita

                  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.

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                    miliana monuments concept and projects by mario eremita

                    Monuments concept Miliana Papilion Hospiton

                    ManagerCaos Leave a comment
                    premise

                    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.

                    monuments concept papilion hospiton by mario eremita

                    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.

                    monuments concept papilion hospiton by mario eremita

                    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.

                    monuments concept papilion hospiton by mario eremita

                    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.

                    monuments concept papilion hospiton by mario eremita

                    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.

                    monuments concept papilion hospiton by mario eremita

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