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.
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:
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.
It is a painting on fabric created by Mario Eremita for the Distric Prize of Ponzano Veneto ( Treviso ). It is a “White” Prize which represents the Madonna and Child and the distinctive signs of the four districts of the Municipality of Ponzano Veneto, a town in the province of Treviso where every year in september this anniversary is celebrated with a series of competitions based on strength, resistance and intelligence.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
