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.
Mario Eremita’s sculptures and paintings dedicated to the seasons, mythology, the solar system, the masks of commedia dell’arte, astrology, tarot cards
Artworks carried out in 1990 at the Da Pino Restaurant in Viale della Repubblica in Treviso. The works are of different genres. There are stucco bas-reliefs and wall paintings.
The artistic insert was created at the headquarters in Viale della Repubblica in a structure from the beginning of the twentieth century. Themes of: the seasons, the stars and planets, Ceres and Endymion, Hercules and Juno or the Milky Way were proposed.
These themes were executed with wall paintings on prefabricated structures. Stucco bas-reliefs on wooden panels were placed around them with the themes of tarot cards, horoscopes and mythology.
These works are 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.
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 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.
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.
The paintings by Mario and Michelangelo Eremita dedicated to the masks of the Comedia de l’Arte and beyond.
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.
historical headquarters of the art studio in Paderno di Ponzano Veneto (Treviso)
The artist Mario Eremita acquired his own art studio in 1991 in the town of Paderno di Ponzano Veneto in the province of Treviso. The property, consisting of two sections, a medieval watchtower, whose foundations date back approximately to the 13th century and an annex dating back to the 16th century, is in a state of serious deterioration.
original structure
After taking care of the renovation project, supported by his sons Nicola and Michelangelo, he decided to enrich it with multiple art inserts.
The entrance, consisting of a large arch with a wrought iron gate, introduces an “opus incertum” mosaic, made with different types of granite, inspired by the theme of the sea, which represents three dolphins and two gigantic octopuses. The work extends over twenty-five square meters and is evocative and monumental.
The perimeter walls instead accommodate:
a work in stucco bas-relief, which represents girls playing various musical instruments and children playing, entitled “Harmony”; a wall painting entitled “The Seasons”, a girl carrying in her womb the fruits and flowers of the Seasons of the year.
What is special about this Artist’s Studio are the stairs. They have become a support for bas-reliefs and paintings: everywhere, along the climb, you come across figures dancing or making music.
The ceiling of the Painting Studio is entirely made in bas-relief and represents girls dancing in the sky.
bas-relief dancer
The room at the top of the tower is the last room of the Artist’s Studio. Here, along the walls, paintings are made with a particular technique that gives an effect of plasticity and freshness. Inserted in three arch-shaped niches, three women dance naked.
painting dancers
In 2001 the Studio was sold to the artist photographer Andrea Pancino. He, passionate about Eremita’s works, redesigned all the rooms according to his own very refined aesthetic tastes, preserving and further enhancing the art of the previous owner.
A few small moves and a calibrated intervention to remodel the spaces gave birth to an environment that elevates the quality of life, stimulating reflection, contemplation and the desire to always surround oneself with beautiful things.
This architectural structure which, due to its antiquity and the different uses it has had over time, has taken on strong characteristics of suggestion and mystery, became an Artist’s Studio, receiving a unique expressive intensity, then passing through a new declination with the intervention of another artist, younger and with a different sensitivity, is a monument to the art that remains in the community of Ponzano Veneto.
It is a mixture of emotions that are distributed between history and the present, between the material of art, concrete and spiritual, and the past which was concrete but which now lies, as a memory.
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.
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.
Artistic embellishments, high relief by Mario Eremita at De Faveri’s House in Treviso
High relief made directly on the wall with plastic stucco. The overall dimensions are approximately 5 linear meters by 5 vertical meters. The subjects are figurative and dedicated to music, as the customer is passionate about this art.
Below, towards the entrance of the house, a cornucopia was created, a symbol of abundance and prosperity. 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.
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.
