mario eremita artist in art in time
tabula fenestrata teofilo folengo

Descrption

The Artist Mario Eremita liked to pay tribute to an ancient tradition. Once, infact, the artists painted some wooden tables divided into three pieces connected by hinges to create a little tabernacle.
These works were made for pilgrims to be easily transported; they represented sacred subjects.

Eremita interprets in the contemporary way this tradition and makes the collection of "Tabule Fenestrate", of which is "the Baldus". The collection presents not only sacred subjects but also dedicated to importants people from the past, to civil traditions, to culture and to the international literature.

"Tabula Fenestrata Teofilo Folengo: the Baldus" wooden tables with hinges as the medieval icons; dimensions wide open cm 96 x 65,5 ( height ).

Introduction

The tribute to Folengo is the set of some of the multiple messages you find reading the Baldus: hero of an incoherent gang, the Baldus will end his adventure into the big pumpkin, where alle the charlatans the astrologers the philosphers the poets and the same Merlin Cocai are condamned. Merlin Cocai is the pseudonym of Teofilo Folengo who is represented into the painting while the Muse mounth him macaroni.

Work's prose

( by the creative imagination of Nicola Eremita, descendant, scholar, curator, expert, apologist of the artist Mario Eremita ).

Teofilo Folengo comes from beyond to visit the artist, during a warm night of summer. The literary man wakes the painter in a "medium" dimension between life and death. A dimension that gives the chance to speak in a strange way, a pseudo latin dialect, corrupted by time, almost made only by phoné. This speech is reported here into current italian.

Teofilo:
"How much meanings you collect together. I saw my pancificae Muses Gosa Comina Strega Mafelina Togna Petrala. They besiege my fat Merlin Cocai while he fills his belly. You have well painted that remote place in the world where the Muses live which is nothing else that my poet's soul and right there behind you put my Infernal Pumpkin. The Pumpkin I have imagined to appease the negarious jealousy of those who do not imagine, who are ready to pursue people who think with free soul. Because the laugh is always a danger if it urges intelligence.

To appease their feral souls I made the Pumkin in which I put we, who image, condemned to have extracted teeth foever.

I saw the cardinal dress near the female conceited beauty and I saw the peacock as arrogance symbol.
what a satisfaction I tried realizing to be understood, thanks to the arts conjunction that wins the time.

I saw the Churc's columns with no roof and no gate, the temple of God opened to all the sins and I was stricken by a dark anxiety.

I saw the musicians and a dove and a greasy pole, meanings of abundance and happyness, they together are the symbol of poets and artists and are the symbol of lightness that, together with severity, make the art of imagination.

I saw the color of my ancient world, bare and sad, where the dark prevails on light and my dream prevails on the hard and harsh reality. I saw the snow over everything. I saw the snow which is the non-color, which have every color and is pure but easily corruptible.

How can you have so much felt what is so remote from your time, my dear artist?

Only the great strenght of arts conjunction can give so much feeling. The arts conjunction in the past they described as romentic sense. I finally saw the portrait of Virgilio the great poet that you put to my right side and with devotion you wanted my head bowded at his presence."