These are bas-reliefs on silver plate. The sizes range from 5×5 cm to 10 cm in diameter. The works are offered on a metal sculpture base, in a 22×22 cm numismatic/medal velvet package or in a 24×30 cm collection/museum cardboard package. For any information contact us using the form at the bottom of the page.
These are bas-reliefs on silver plate. The sizes range from 5×5 cm to 10 cm in diameter. The works are offered on a metal sculpture base, in a 22×22 cm numismatic/medal velvet package or in a 24×30 cm collection/museum cardboard package. For any information contact us using the form at the bottom of the page.
These are bas-reliefs on silver plate. The sizes range from 3×3 cm to 10 cm in diameter. The works are offered on a metal sculpture base, in a 22×22 cm numismatic/medal velvet package or in a 24×30 cm collection/museum cardboard package. For any information contact us using the form at the bottom of the page.
These are bas-reliefs on silver plate. The sizes range from 5×5 cm to 10 cm in diameter. The artworks are offered on a metal sculpture base, in a 22×22 cm numismatic / medal velvet package or in a 24×30 cm collection / museum cardboard package. For any information contact us using the form at the bottom of the page.
These are bas-reliefs on silver plate with personalized themes according to the client’s requests. The sizes range from 5×5 cm to 10 cm in diameter. The artworks are offered on a metal sculpture base, in a 22×22 cm numismatic / medal velvet package or in a 24×30 cm collection / museum cardboard package. For any information contact us using the form at the bottom of the page.
General gallery of toreutics artworks, bas-reliefs on silver plate created by Mario Eremita. The sizes range from 3×3 cm to 10 cm in diameter. The artworks are offered on a metal sculpture base, in a 22×22 cm numismatic / medal velvet package or in a 24×30 cm collection / museum cardboard package. For any information contact us using the form at the bottom of the page.
Works created by Mario and Michelangelo Eremita in 2003 for Beni Stabili spa. A collection of panel paintings on the theme of the masks of the Comedia de l’Arte and beyond. The thirteen pieces were placed inside the “Le Maschere” restaurant of the San Clemente Island Resort in Venice.
Each work measures 50 x 70 cm and is a painting on wood.
The refinement of the lines and the shades of color stand out, making these classic themes still original and stimulating. In particular we focus on Flora, Pegasus, Poseidon, Ra and Venice. The former come from mythology and mysticism, the latter is a tribute to the city of Venice; everyone was transformed into masks, as if they were characters invited to a carnival party who wanted to wear the strangest disguises.
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.
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.
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?
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.
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.
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.
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.
