sacred nativity in bethlehem sculpture by mario eremita

Sacred Nativity in Bethlehem

The Artistic Nativity Scene by Mario Eremita
The Holy Nativity in Bethlehem

Created during 2014 and 2015, the artwork was exhibited at the Church of San Moisé in Venice ( San Marco ) from 19 December 2015 to 19 January 2016.

Characteristics

Unique piece created entirely by the artist with mixed techniques. The materials used are: wood, plaster and French clay; the overall dimensions are 120 x 70 x 75 cm ( height ); the nativity scene is equipped with LED lighting powered by 220v electricity.

Description

The artwork is composed of scenography inspired by Middle Eastern locations and 31 ( thirty-one ) human and animal figures; the whole is designed to philologically respect the Christian religious tradition. Each part of this work was performed by the artist Mario Eremita and hand painted by the author himself; the piece is unique.

Analysis of the artwork

Mario Eremita’s Artistic Nativity Scene is made with humble and recycled materials, very common in a carpenter’s workshop: old wooden planks, part of a table; of chalk and clay.

The preciousness is not in the mere material but in the contents, in the values that this work intends to inspire.

The scenography is placed in its ideal location, in a small glimpse of Bethlehem whose buildings are characterized by white walls and domed roofs.

Idealized proportions highlight the figures rather than the architecture and they are the protagonists: 31 clay sculptures modeled and painted with all the strong and unmistakable personality of Eremita who, in addition to his passion for details, also adds a fun touch of lightness in the poses of the cat and children playing the whelks to announce the event.

Composition that intrigues and fascinates for the plastic poses, for the colors, for the clothing solutions. Absolutely contemporary in its semblance of classicism, Mario Eremita’s Artistic Nativity Scene shows us a Mary tired from the journey, from the privations of the labor of childbirth but serenely intent on breastfeeding the baby.

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

Restaurant Da Pino Signori square Treviso

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

    House Carlo Goldoni Venezia

    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

      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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        consumism monuments concept and projects by mario eremita

        Monument concept consumerism

        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.

        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.

        monuments concept consumerism 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.

        monuments concept consumerism by mario eremita
        monuments concept consumerism by mario eremita

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