mario eremita artist in the art in the time
biography mario eremita painting and sculptor

technical details

diptych oil on wood cm 300 x 150 x #2 pieces;
title "2agosto1980";
year 1982; author Mario Eremita

introduction

Contemporary art is in decline for many years. It is decay of values, empty of meaning, loss of abilities.

The question is that arts are often trivial and considered with naivety. Themes are not sublimated and come to us as trite aphorisms of childlike simplicity. The great part of the art world does not influence the subconscious and no longer communicates with the community with his own sophistication. It tends to become a subculture. Synthesis, suggestion and rhetoric, remain unknown tools; and many artists are often celebrated as an enlightened presence but they are actually improvised.

Here we want to revive the interest in the visual arts promoting and supporting educated and gifted artists. This is an attempt to preserve and, one day, to reaffirm the true and only the basic concept of art: "there is no art without beauty and without culture." This is a mission as those of the monks in medieval times, that retained knowledge with sacrifice.

2 august 1980

Every good-will man at the beginning of the new millennium was thinking that humanity would begin to get over his hereditary diseases. What is happening and was happened from the beginning of the XXI century, has hopes shattered. Nationals and internationals problems are at hand every day. All the Institutions that represent society or a part of it, in this time, are in the centre of attention anywhere crisis rise.

In that context here is introduced the Diptych “2 august 1980”. The work is two oils on plywood tables cm 300 x 150 each. It was painted on 1982. Although it is very original, this kind of painting is into the abstract expressionism tradition. It also connect the italian renaissance painting with the flemish one giving life to a ingenious and sophisticated mix.

Some authoritative critics described Eremita as the Latin Bacon.

The “2 august 1980” speaks to the Humanity and it presents the alienated condition unworthy of mankind.

This work is not realistic but symbolic. Note that it is not placed into an architectural or geographical context, but it is suspended into an undefined environment. This environment has no relevancy on dreamlike, it means to magnify the universal meaning.

Removed references to time and space the aim is to describe the frustration and the mutilation of the positive-will with the dullness of terror.

Here is the color: both scenes, thanks to a refined technique, are immersed in an atmosphere of tension and fear. Eremita suggests dark omen and sense of anxiety and disorientation with cinematic skill, until he shows the sudden manifestation of evil with contrasting and vivid colors. There is also music and we can hear it as the slow dark macabre and silent trump’s bark. His sound rises from the black bottom of future or from the bowels of underworld which Christ comes and finally gives justice.

This diptych has a sense of reading from top to bottom and from left to right. It is divided into sharp sectors which show the evil’s causes and effects.

There are two dehumanized and deformed figures into the first of Diptych. These figures reveal the monstrosity of the vacuum of moral and ethical values. The effects are to their right: up is represented the destruction of the weakest, down is the trump of doom as the ultimate warning. Let’s see the second of Diptych. Starting from up, there are those who plot and prepare afflictions, down from left to right we can see the effect of mutilation of body and soul and the denial of progress and achievements of civilization, symbolized by the killed and mutilated Hellenic Horse.

The painting technique is of very fine quality, the color is treated as a light in the Renaissance tradition of Michelangelo.

acquisition and exhibition

Here is suggested to acquire works of painters and sculptors that are inspired from the dread of violence, abuse and terror. It would be desirable to allocate public spaces for those artworks.

Every acquisition would have the dual role to assert the aversion to violence and to support and encourage artists who help us all to remember this aversion. This kind of collection, dedicated to a special theme would enjoy special interest and would be a point of reference for the art users a public that is growing more and more in recent years