This paintings are made on silver plate 925/000 with enamel paints. They are miniatures on precious metal, measures are from cm 5×6 to cm 15×15. Mario Eremita’s artworks are presented here. He has been making these small collections since 1977.
This paintings are made on silver plate 925/000 with enamel paints. They are miniatures on precious metal, measures are from cm 5×6 to cm 15×15. Mario Eremita’s artworks are presented here. He has been making these small collections since 1977.
This paintings are made on silver plate 925/000 with enamel paints. They are miniatures on precious metal, measures are from cm 5×6 to cm 15×15. Mario Eremita’s artworks are presented here. He has been making these small collections since 1977.
Below you can view a selection from the enamel paintings on silver by the artist Mario Eremita.
These are collections based on popular themes. They have aroused the interest of institutions and companies who have chosen them for representative gifts and relationship gifts and also to personalize the public image.
The collections are inspired by the seasons of the year, carnival masks, mythology, fairy tales, theatre, literature and sacred themes.
The following selection is proposed as a whole as a single lot. The artworks are assorted by theme and size.
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Painted with enamels on three hinged wood boards. The technique allows to maintain thin thicknesses and multiple glazes to obtain effects of particular brilliance and brightness. Here is a series of artworks created between 2007 and 2015. The artworks are inspired by the byzantine icons and by the triptych of “Garden of Earthly Delights” by Hieronymus Bosch and are suitable for display on furniture rather than hanging on the wall.
The themes are dedicated to the catholic religion.
Artwork from 2015, closed format cm 21×23, open format cm 42×23
Artwork from 2008, closed format cm 24×30, open format 48×30
Artwork from 2015, closed format cm 30×34, open format cm 60×34
Artwork from 2007, closed format cm 24×30, open format cm 48×30
Artwork from 2013, closed format cm 50×70, open format cm 100×70
Artwork from 2011, closed format cm 50×70, open format cm 100×70
Artwork from 2015, closed format cm , open format cm
Artwork from 2015, closed format cm 21×23, open format cm 42×23
Artwork from 2014, closed format cm 24×32, open format cm 48×32
Artwork from 2014, close format cm 32×50, open format cm 64×50
Artwork from 2014, closed format cm 32×50, open format cm 64×50
Opera del 2015, formato chiuso cm , formato aperto cm
Artwork from 2012, closed format cm 50×70, open format cm 100×70
Artwork from 2014, closed format cm 24×32, open format cm 48×32
Painted with enamels on three hinged wood boards. Made on 2010 by the master Mario Eremita. The technique allows to maintain thin thicknesses and multiple glazes to obtain effects of particular brilliance and brightness. The closed dimensions are cm 48 x 65, open cm 95 x 65. The artwork is inspired by Byzantine icons and the triptych of the “Garden of Earthly Delights” by Hieronymus Bosch and is suitable for display on furniture rather than hanging on the wall.
The theme is dedicated to Gerolamo Folengo better known by the pseudonymus of Teofilo Folengo, Merlin Coccajo, Merlin Cocai, Limerno Pitocco, italian poet born in Mantova on 8 november 1491 and died in Campese on 9 december 1544, exponent of macaronic poetry.
In particular, here is one of the most famous scenes taken from Baldus, a parody of chivalcric poems, in which the hero Baldus is fed the famous gnocchi by the muses. The infernal pumpkin appears in the background. Following are some images of the artwork and a short documentary that intends to expose the meanings contained in it and place the artwork in the time in which Folengo lived.
On 2017 the Venetian Regional Council commissioned a drawing to the master Mario Eremita, it was a drawing in order to create an edition of artistic prints dedicated to the Leone Marciano and to the headquarters of the Venetian Regional Council.
Mario Eremita interpreted the classic Leone Marciano in a completely original way, depriving it of his anthropomorphic features to reaffirm its most natural animalistic genuineness. Using color instead he wanted to use pale shades to recall the Istrian stone foundations of the Republic of Venezia.
The Leone Marciano appears slender, like a true savannah lion, at the height of sexual maturity and at the height of its strenght, a very thick mane surrounds it. Behind it Palazzo Ferro Fini, headquarters of the Venetian Regional Council.
Below the lion is the banner of the Serenissima which flames and seems to become a ship among the waves of history.
