The Coltrina of Venice for the Historical Regatta was made for the first time in occasion of the Historical Regatta of 4 september 2016. Prints will be made from the original as reward for the first 12 qualified in the different categories ( young, women, caorline, gondolini ).
Piece of fabric hand painted dimensions cm 139,5 x 228,50. It is composed by fabric viscose with six fringes dimensions cm 15 ( width ) x 10,5 ( height ) and six support loops at the top dimensions cm 15 ( width ) x 6,5 ( height ). The work is framed by a cord multicoloured fabric diameter cm 1.
The painting inteds to plow through cultural traditions and the symbolisms of the "Serenissima Repubblica di Venezia". The ancient Republic was the story of this territory and the cause of the existence of the city on lagoon and of his unmatched contribution to the mankind's social, political and economic development. The Republic od Venice is comparable only to the ancient Greece or to the Chinese one. At the end of the eighteenth century it has been replaced from the Anglo-Saxon civilization. Nowadays this is the only legitimate heir fo the venetian splendor. In fact, not surprising the cultural link which still keeps related Venice and New York.
The Master Mario Eremita's Coltrina is characterized by a strong front symmetry and by a Venice's hieratic pose, a tribute to the byzantine antecedents. From the top we can appreciate the date 1489, year when the Cipro's Cornaro Queen abdicates and returned to Venice receiving a triumphant welcome. She was on board the Bucintoro, she paraded along the Grand Canal and obtained the rank of Asolo's Lady retaining the title of Queen. The date of june 06 1489 was a memorable day and the artist dedicated the Coltrina to it.
The whole work represents the Venice's Throne; it is made by the white Istria Stone with which most of Venice is built. Here so the Winged Lion which is in the high side of the Throne. It is not represented in human features but in the real lion's aspect, as Marco Evangelist's symbol. Pay attention to the dry belly the slender legs and really able to run, the large mane. The Lion is albino, a tribute to the Istria Stone, the preferred material for the manufacture of this great symbol. It is albino also to outline the particularity and the rarity of his progeny. Both front legs rest on the book which contains the famous latin phrase: "pax tibi Marce Evangelista meus." Peace be with you Mark my Evangelist. This pose shows the the entirety of the venetian territory, the land and the sea and and strengthens the primary intent of the Repubblica Serenissima which wanted the prevalence of diplomacy and exchange over violence. The Winged Lion stands out against the blu starry background, tribute to the image on the "Venice Clock Tower".
In front and under the Winged Lion here is Venice regally sitting. She wears the crown of the Adriatic Queen; she wears cloaks that recall the typical lagoon colours of the dawn and of the sunset; then she wears a red cloak as the flag of San Marco with typical decoration. The pose of Venice is hieratic and firm, settled to mean her greatness, power and regal grace; she opens her arms showing to the world her jewel: the access to the city by the "Piazzetta delle Colonne di San Marco e San Todaro", the Doge Palace the Marciana Library and the Basilica. She has the scepter with olive branches in her right hand, it is the symbol of the power in peace. She has the uroboro in the left hand, it is the symbol of the circularity of time. The green-blue womb is the colour of the lagoon and lower on the Venice's dress the Historical Regatta boats float: the Bissone, the Serenissima, the Gondolini, the Mascarete, the Pupparini, the Caorline. Lower there is the "nizioleto" with the wording "Venezia Regata Storica" and the sign of the artist Mario Eremita. The frame of ivy leaves symbolizes loyalty and love, the frame of olive branches symbolizes the peace, they complete the work.
The painting has a primary symbolic intent and, in particular it shows the quiet and reliable power of Serenissima. It recalls the glory of its original heyday that was from XIII century onwards.
In this sense the artist referred himself to the byzantine and renaissance painting. Byzantine is because of the hieratic poses, the statuesque poise, the symmetries and the sequential exhibition. Renaissance is because of the use of colors, the prospective breakthrough ( the Piazzetta di San Marco ) and the use of different plans; here there are seven:
the blu night background at the top, the Throne, the Winged Lion, Venice, the dresses, San Marco, the boats. The seven plans are almost overlapped but clearly divided and independent albeit tenaciously harmonized by the sublime use of colors, of sfumato, of halftones.
The viewer feels puissance; he should belong to this happy symbology, because it conquests and involves. The Lion's Wing dynamism is very particular, together with the vaporous mane. Both they give impression that the feline is flighting. The Venice's hairstyle turning down becames flag and empties into the wide lagoon like a hidden river; a river hidden by the Venice's dawns and the sunsets show by the massive draped sleeves. The Venice's face is straightforward thin and soft but also firm and reliable. It is watching us with pride and olympian calm. The pale and dreamlike architecture emerges from the green-blue womb; while in the lower, colored boats float on the womb that becames water in direction of the Grand Canal for the Historical Regatta. The night-blu background just framing the corner to the top remarking the contrast between dark and light, the latter embodied by Venice throughout.
The work is unmistakably made by the artist Mario Eremita. Original and typical are his styles: the shapes of the limbs, the sfumato, the painting of light, the massing and the delicate symbolic references. All that is not only into the shapes but also into the color. The way to read the work is top down.