Category: design style
The Venezia’s Coltrina ( canvas )
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.
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Alacqua’s House
artistic embellishments mural painting at Alacqua’s House Venice Mestre “Concordia et Abundantia”
Mural painting made directly on wall with special paints and 24 kt gold leaf. The overall dimensions are approximately 4 by 2.5 meters. The subjects are figurative and dedicated to music, symbol of harmony and to the horn of plenty, symbol of abundance.
The artwork was treated with shades of pink and gray to emulate the hard rhodochrosite stone, according to the wishes of the client, Mr. Alacqua.
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.
Even in commissioned artworks, which must necessarily be carried out in accordance with precise needs, the talented artist is able to express his own personal style without distorting himself, but rather by broadening the codification.
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Campello’s House
artistic embellishments, mural painting at Campello’s House, Venice “Tango”
It is a mural painting made in the house of Mrs. Francesca Campello in Venice. She is passionate about dance and in particular tango, Mrs. Campello always wanted to have with her a dedication to the profond Argentine, Rioplatense, Uruguayan and French tradition.
The composition represents three artists, two dancers intent on the tango choreography and a woman sitting next to her while she plays the bandoneon, a characteristic instrument of the milonguero tradition. The draping of the black shawl is particular and intense, which in the past was the most common accessory of venetian women.
The warm and lively shades highlight the moment of intense passion and creative tension while the starry sky recalls the desire for freedom and to fly high.
The mural was painted in a venetian residence a few steps from Piazza San Marco, in the heart of the historic city in a context of high, elegant, refined and sober tenor. With its chromatic power, the “tango” mural stands out even if the shades match those of the premises.
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Nike Trophy
Trophy dedicated to the cycling and specialized press made by Mario Eremita
The famous enterprise Campagnolo srl and the International Association of Cycling Journalists every year commission an artist to create a trophy to synthetically represent the values of cycling and of the sport specialized press. On 1985 the Association chose the artist Mario Eremita. He made the “Cycling and free Press Nike”.
The “cycling and free press Nike” was awarded to Bernard Hinault on november 14 1985. He is to date the greatest champion on the history of french cycling.
Artwork presentation
The sculpture was made with pine wood iron and silver. It represents the Nike’s winged head, wings are in the manner of Mercury, they protrude from the sides of the skull and are made with Campagnolo hubs and silver wire, the bust and shoulders of the figure are idealized like newspaper sheets and made with hand-beaten silver plate. The whole is of the highest level of refinement and stylistic value well beyond the classic rhetoric of the trophy but firmly positioned in the field of the most authentic artistic sculpture.
Press review
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Major Arcana of the Tarot, drawing
The Major Arcana of the Tarot intepreted by Mario Eremita.
The Major Arcana of the Tarot, have engaged great artists because they are rich in mystery and history and are rooted in the tradition of civilizations. They were imported from the East and their first intepreter was Andra Mantegna. That first edition was published by venetian typographies.
The mysterious sequence of numbers and symbols, which enchants with its load of irrationality and which clashes with our society of programming, of calculation, of the strict rationality of the rejection of the otherworld, of superstition, of the supernatural, becomes the ideal territory for the artist always looking to innovative and reshape what is under the sun.
Mario Eremita has interpreted the Tarot in various editions which, although dedicated to cultural traditions, are completely original in terms of style, stroke and also for some formal solutions. The editions are in oil color or india ink.
Collections
- Egyptian Tarot oil and chalk, 1976;
- Neapolitan Tarot enamel on plywood, 1978;
- French Tarot oil and chalk, 1985;
- Neapolitan Tarot india ink, 1990;
- Erotic Tarot india ink, 2000;
- Venetian Tarot india ink, 2000;
- Baccus Tarot india ink, 2017.
Egyptian Tarot oil and chalk mixed technique, 1976
Here you can admire some examples of the collection of Egyptian Tarot made in 1976 on paper mixed technique oil and chalk.
Neapolitan Tarot oil and chalk mixed technique, 1978
Here you can admire some examples of the collection of Neapolitan Tarot enamel on plywood made on 1978.
French Tarot oil and chalk mixed technique, 1985
Here some examples of the collection of French Tarot made on 1985.
Neapolitan Tarot india ink, 1990
Here you can admire some examples of the collection of Neapolitan Tarot india ink made on 1990
Erotic Tarot india ink, 2000
Here you can admire some examples of the collection of Erotic Tarot india ink made on 2000.
Venetian Tarot india ink, 2000
Here you can admire some examples of the collection of Venetian Tarot india ink made on 2000
Baccus Tarot india ink, 2017
Here you can admire some examples of the collection of Baccus Tarot india ink made on 2017
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Rummy cards grape harvest and wine, drawing
Rummy playing cards intepreted by Mario Eremita tribute to wine and the grape harvest
The fifty four Rummy Cards, india ink and pastel drawings on paper, made on 2015, artwork by the artist Mario Eremita.
Here we can appreciate the delicacy of the graphics and color of these drawings, which subtly revisit the cards of the Texan Rummy, now widespread throughout the world and made famous by the Casinos and the 007 James Bond films.
Eremita interpreted the 54 Rummy cards with bucolic figurative subjects, to pay homage to the italian winemaking tradition and the cultivation of the vineyard.
A drink that represents one of the most important excellens of Italy, wine is linked here to a playful, positive activity that requires the use of the best strategic and mnemonic qualities.
Celebration of happy living, of evenings spent with friends playing an intelligent game and sipping quality wines.
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Palaces and Churches of Venezia, drawing
Collection of the Venezia’s Palaces and Churches on the Gran Canal, drawings by Mario Eremita
The artist Mario Eremita made this collection of more than fifty india ink drawings during two years of work.
They are the the front elevations of the architectural works that ovelook the Venezia’s Gran Canal. These drawings reproduce these true monuments with the artist’s unmistakable style, each with its own history and mysteries.
The Gran Canal and its architecture e la sua architettura are certainly among the most important riches of italian culture and civilization.
Mario Eremita has graphically reconstructed all those works that were once the business cards of important and wealthy families of venetian merchants and nobles, emulating the spirit of Renaissance artists who were all fascinated by architecture. This architecture was also the symbol of the military power and Christian loyalty of its inhabitants.
Even though they look alike, each one architecture reveals, thanks to the artist’s style, its particular and unique energy which originates from the talent of ancient architects, master stonecutters and carpenters who built them, enhancing the beauty of this immortal city.
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Seasons of the year, drawing
The seasons of the year interpreted by Mario Eremita
Following a centuries-old artisti tradition Mario Eremita interprets the seasons of the year using oil colors on paper. The artist made this collection, as always anthropomorphic or figurative, which celebrates the passage of time and the climates of the year with the beautiful things that each of them has in store for us.