{"id":22706,"date":"2026-11-13T14:49:16","date_gmt":"2026-11-13T13:49:16","guid":{"rendered":"https:\/\/www.gvperte.it\/?p=22706"},"modified":"2026-11-13T15:19:01","modified_gmt":"2026-11-13T14:19:01","slug":"an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass","status":"publish","type":"post","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/","title":{"rendered":"An exhibition in Venice showcases the golden age of Murano glass"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"

With new geometric forms, uses of colour and unprecedented experiments, between <\/span>1948 and 1958<\/b><\/span> Murano glass at the Biennale became a form of pure art. At <\/span>Le Stanze del Vetro<\/b><\/span>, on the island of San Giorgio Maggiore in Venice, the third instalment of the exhibition series dedicated to the presence of Murano glass at the Biennale is drawing to a close. The exhibition <\/span>\u20181948\u20131958. Murano Glass and the Venice Biennale\u2019<\/b><\/span>, running until 22 November and curated by <\/span>Marino Barovier<\/b><\/span>, examines<\/span> Murano\u2019s golden decade<\/b><\/span>, during which the works of the period\u2019s most important glassworks \u2013 including Venini, AVEM, Barovier & Toso, Seguso Vetri d\u2019Arte, Alfredo Barbini, Archimede Seguso, and artists such as <\/span>Vinicio Vianello<\/b><\/span>. \u2018It was Vianello himself, a painter from the Spatialists\u2019 group, who created his <\/span>\u201cNuclear Explosions\u201d<\/b><\/span>\u2014a series of sculptures that are particularly interesting as <\/span>they were inspired by the explosions at <\/b><\/span>Hiroshima<\/b><\/span><\/span> and <\/b><\/span>Nagasaki<\/b><\/span><\/span>. \u2013 explains <\/span>Marino Barovier<\/b><\/span> \u2013 He made many of them, as photographs from the time attest, but <\/span>now only two remain<\/b><\/span>. A vintage photograph on display in the exhibition shows Peggy Guggenheim standing right next to one of these works, of which, however, no trace remains; <\/span>perhaps it was broken over time<\/b><\/span>,<\/span>\u201d<\/b><\/span> speculates the curator.<\/span><\/p>\n","protected":false},"author":89,"featured_media":22698,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"give_campaign_id":0,"footnotes":""},"categories":[1998],"tags":[3321,3437,2166,2168,1999],"class_list":["post-22706","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ve-nice","tag-biennale","tag-exhibition","tag-glass","tag-murano-en","tag-venice"],"acf":{"categoria":[1998],"categoria_source":{"label":"Category","type":"taxonomy","formatted_value":[{"term_id":1998,"name":"Ve-nice","slug":"ve-nice","term_group":0,"term_taxonomy_id":1998,"taxonomy":"category","description":"","parent":0,"count":35,"filter":"raw"}]},"sottotitolo_h2":"On display at Le Stanze de Vetro are works created between 1948 and 1958, which were presented at several editions of the Art Biennale. These unique and iconic pieces tell the story of the renaissance of Murano glass, including the experimental works of Vinicio Vianello","sottotitolo_h2_source":{"label":"Subtitle","type":"text","formatted_value":"On display at Le Stanze de Vetro are works created between 1948 and 1958, which were presented at several editions of the Art Biennale. These unique and iconic pieces tell the story of the renaissance of Murano glass, including the experimental works of Vinicio Vianello"},"immagini_principale":{"ID":22698,"id":22698,"title":"vetro 1","filename":"vetro-1.jpg","filesize":211764,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-1-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-1-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:43:53","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":1340,"height":894,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-768x512.jpg","medium-width":768,"medium-height":512,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-768x512.jpg","medium_large-width":768,"medium_large-height":512,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","large-width":800,"large-height":534,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","1536x1536-width":1340,"1536x1536-height":894,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","2048x2048-width":1340,"2048x2048-height":894,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-1320x881.jpg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":881}},"immagini_principale_source":{"label":"Main images","type":"image","formatted_value":{"ID":22698,"id":22698,"title":"vetro 1","filename":"vetro-1.jpg","filesize":211764,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-1-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-1-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:43:53","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":1340,"height":894,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-768x512.jpg","medium-width":768,"medium-height":512,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-768x512.jpg","medium_large-width":768,"medium_large-height":512,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","large-width":800,"large-height":534,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","1536x1536-width":1340,"1536x1536-height":894,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1.jpg","2048x2048-width":1340,"2048x2048-height":894,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-1-1320x881.jpg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":881}}},"introduzione":"With new geometric forms, uses of colour and unprecedented experiments, between <\/span>1948 and 1958<\/b><\/span> Murano glass at the Biennale became a form of pure art. At <\/span>Le Stanze del Vetro<\/b><\/span>, on the island of San Giorgio Maggiore in Venice, the third instalment of the exhibition series dedicated to the presence of Murano glass at the Biennale is drawing to a close. The exhibition <\/span>\u20181948\u20131958. Murano Glass and the Venice Biennale\u2019<\/b><\/span>, running until 22 November and curated by <\/span>Marino Barovier<\/b><\/span>, examines<\/span> Murano\u2019s golden decade<\/b><\/span>, during which the works of the period\u2019s most important glassworks \u2013 including Venini, AVEM, Barovier & Toso, Seguso Vetri d\u2019Arte, Alfredo Barbini, Archimede Seguso, and artists such as <\/span>Vinicio Vianello<\/b><\/span>. \u2018It was Vianello himself, a painter from the Spatialists\u2019 group, who created his <\/span>\u201cNuclear Explosions\u201d<\/b><\/span>\u2014a series of sculptures that are particularly interesting as <\/span>they were inspired by the explosions at <\/b><\/span>Hiroshima<\/b><\/span><\/span> and <\/b><\/span>Nagasaki<\/b><\/span><\/span>. \u2013 explains <\/span>Marino Barovier<\/b><\/span> \u2013 He made many of them, as photographs from the time attest, but <\/span>now only two remain<\/b><\/span>. A vintage photograph on display in the exhibition shows Peggy Guggenheim standing right next to one of these works, of which, however, no trace remains; <\/span>perhaps it was broken over time<\/b><\/span>,<\/span>\u201d<\/b><\/span> speculates the curator.<\/span>","introduzione_source":{"label":"Introduction","type":"wysiwyg","formatted_value":"

With new geometric forms, uses of colour and unprecedented experiments, between <\/span>1948 and 1958<\/b><\/span> Murano glass at the Biennale became a form of pure art. At <\/span>Le Stanze del Vetro<\/b><\/span>, on the island of San Giorgio Maggiore in Venice, the third instalment of the exhibition series dedicated to the presence of Murano glass at the Biennale is drawing to a close. The exhibition <\/span>\u20181948\u20131958. Murano Glass and the Venice Biennale\u2019<\/b><\/span>, running until 22 November and curated by <\/span>Marino Barovier<\/b><\/span>, examines<\/span> Murano\u2019s golden decade<\/b><\/span>, during which the works of the period\u2019s most important glassworks \u2013 including Venini, AVEM, Barovier & Toso, Seguso Vetri d\u2019Arte, Alfredo Barbini, Archimede Seguso, and artists such as <\/span>Vinicio Vianello<\/b><\/span>. \u2018It was Vianello himself, a painter from the Spatialists\u2019 group, who created his <\/span>\u201cNuclear Explosions\u201d<\/b><\/span>\u2014a series of sculptures that are particularly interesting as <\/span>they were inspired by the explosions at <\/b><\/span>Hiroshima<\/b><\/span><\/span> and <\/b><\/span>Nagasaki<\/b><\/span><\/span>. \u2013 explains <\/span>Marino Barovier<\/b><\/span> \u2013 He made many of them, as photographs from the time attest, but <\/span>now only two remain<\/b><\/span>. A vintage photograph on display in the exhibition shows Peggy Guggenheim standing right next to one of these works, of which, however, no trace remains; <\/span>perhaps it was broken over time<\/b><\/span>,<\/span>\u201d<\/b><\/span> speculates the curator.<\/span><\/p>\n"},"paragrafi_articolo":[{"titolo_paragrafo":"For a decade, glass took centre stage at the Biennale","testo_paragrafo":"On display alongside this gem are over 160 works that bear witness to a crucial decade for the rebirth of glass art within the context of the Venice Biennale, characterised by great freedom, inventiveness and enthusiasm. From 1948 \u2013 the year in which activities resumed following the Second World War \u2013 right through to the late 1950s,<\/span> Murano glass featured in the 24th to 29th editions of the Biennale<\/b><\/span>. <\/span>A unique decade, in which the fire of Murano\u2019s furnaces not only forged and brought to life objects of fine craftsmanship, but also shaped innovative elements that became design pieces and true works of art, as can also be seen in <\/span><\/span>the<\/b><\/span> <\/span><\/span>catalogue, edited by<\/b><\/span> Marino Barovier and Carla Sonego. This<\/b><\/span> presents an in-depth scientific study, documented in the Biennale\u2019s Historical Archive of Contemporary Arts (ASAC) and in public and private archives, which illustrates, through period photographs, <\/span>drawings and documentary material,<\/b><\/span> what was exhibited at the Biennale during that period. The history of every vase on display in the exhibition is reconstructed, including<\/span> unique pieces that have not been seen for some time<\/b><\/span>. It was precisely from 1948 onwards that <\/span>the Venice Pavilion\u2019s decorative arts exhibitions<\/b><\/span> revived their significant focus on glass, to which the Pavilion has always devoted ample space and which, in 1952, was entirely dedicated to hosting the major exhibition of Murano glass. These exhibitions showcased the renewed vitality of Murano, which, in the 1950s, experienced an<\/span> exceptionally fruitful period<\/b><\/span> in tune with the fervour following the post-war reconstruction and the subsequent economic boom, as well as with the emergence of design culture in <\/span>an Italy that was undergoing change<\/b><\/span>. <\/span>","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":22700,"id":22700,"title":"vetro 2","filename":"vetro-2.jpeg","filesize":63922,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-2-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-2-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:46:54","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":640,"height":427,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","medium-width":640,"medium-height":427,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","1536x1536-width":640,"1536x1536-height":427,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","2048x2048-width":640,"2048x2048-height":427,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","mailpoet_newsletter_max-width":640,"mailpoet_newsletter_max-height":427}},"didascalia":""},{"titolo_paragrafo":"Unprecedented experiments and research into historic kilns","testo_paragrafo":"It was precisely during that decade that unprecedented interpretations of ancient techniques, new manufacturing processes and experimentation with materials coexisted, with particular attention paid to the object\u2019s colour rendering.<\/span> Glass pieces<\/b><\/span> were often created<\/span> that displayed an expressive dichotomy<\/b><\/span>: from heavy pieces known <\/span>as<\/b><\/span> <\/span>\u2018sommersi\u2019<\/b><\/span> to <\/span>\u2018soffiati\u2019,<\/b><\/span> which are light and transparent; and from rich, intense colours characterised by rigorous forms inspired by Nordic design to soft, irregular lines more typical of the Italian aesthetic. Other pieces, <\/span>crafted from solid glass<\/b><\/span>, stand out instead for <\/span>their sculptural appearance and remarkable plasticity<\/b><\/span>. The stars of this period were the \u2018historic\u2019 glassworks that made the Murano style internationally renowned, such as Venini, with works by <\/span>Fulvio Bianconi and Paolo Venini<\/b><\/span>: \u2018Venini is the master of colour and the informal style, which are highly appealing,\u2019 explains Marino Barovier. Next comes Barovier & Toso, with glassworks by Ercole Barovier; Seguso Vetri d\u2019arte, with Flavio Poli; and Aureliano Toso, featuring <\/span>the <\/b><\/span>experimental work of <\/b><\/span><\/span>Dino Martens, who introduced glass grinding techniques<\/b><\/span>. The exhibition continues with Fratelli Toso, featuring Ermanno Toso, and AVEM, showcasing the experimental work of Giulio Radi, Giorgio Ferro and Anzolo Fuga, including the engraving firm S.A.L.I.R. \u2018During this period,<\/span> people were often free to produce whatever they had in mind<\/b><\/span>, resulting in glassware that differed from the Venetian tradition of the time,\u2019 continues Brovier. <\/span>\u2018Vases, for example, increasingly lost their functional purpose<\/b><\/span> to become objects of design and art.\u2019<\/span>","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":22702,"id":22702,"title":"vetro 3","filename":"vetro-3.jpeg","filesize":33368,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-3-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-3-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:47:37","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":640,"height":427,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","medium-width":640,"medium-height":427,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","1536x1536-width":640,"1536x1536-height":427,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","2048x2048-width":640,"2048x2048-height":427,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","mailpoet_newsletter_max-width":640,"mailpoet_newsletter_max-height":427}},"didascalia":""},{"titolo_paragrafo":"David Landau: \u2018Let\u2019s hope glass makes a comeback at the Biennale soon\u2019 ","testo_paragrafo":"The Venice pavilion also featured more recently established glassworks, such as <\/span>Gino Cenedese,<\/b><\/span> and those founded by skilled master glassmakers such as <\/span>Alfredo Barbini<\/b><\/span> and <\/span>Archimede Seguso<\/b><\/span>: \u2018Whilst Barbini, a pupil of Martinuzzi, learnt to work glass in a sculptural manner, as demonstrated by his creation of a hand, <\/span>Seguso, on the other hand, was a highly accomplished artist of the time who <\/span><\/span><\/span><\/span>had a great love for filigree, which he, however, reworked and reinterpreted <\/b><\/span><\/span><\/span><\/span>by twisting the filaments to create <\/span><\/span><\/span><\/span>distinctive objects with a rippling effect,\u2019<\/b><\/span><\/span><\/span><\/span> explains the curator. <\/span><\/span><\/span><\/span>At the same time, a number of artists, including <\/span>Ezio Rizzetto, Anzolo<\/b><\/span> Fuga<\/b><\/span>, but above all the \u2018spatialist\u2019 <\/span>Vinicio Vianello<\/b><\/span>, mentioned earlier, developed a particular interest in glass as a material, using it as <\/span>a means of expression<\/b><\/span>. A golden age that bears witness to <\/span>a dialogue with the Biennale and glass that has, unfortunately, long since been interrupted<\/b><\/span>: \u2018We have repeatedly attempted to engage with the institutions and sought to have glass readmitted to the Biennale. Cicutto was interested, but then, with the change of presidency, nothing more was done,\u201d said the creator of the \u2018Le Stanze del Vetro\u2019 project, the collector <\/span>David Landau<\/b><\/span>, who had initially proposed his glass collection for the Glass Museum in Venice. \u2018I realise that design objects such as cups and vases may perhaps be of little interest today, but <\/span>artists have now discovered that glass can be anything<\/b><\/span>, and glassworks \u2013 as the exhibition demonstrates \u2013 have long since begun working with artists to create <\/span>works of art that would be at home in any room at the Biennale<\/b><\/span>. Let us hope that glass will soon once again form part of the great International Art Exhibition.\u2019<\/span>","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":22704,"id":22704,"title":"vetro 4","filename":"vetro-4.jpeg","filesize":73086,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-4-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-4-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:48:25","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":640,"height":427,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","medium-width":640,"medium-height":427,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","1536x1536-width":640,"1536x1536-height":427,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","2048x2048-width":640,"2048x2048-height":427,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","mailpoet_newsletter_max-width":640,"mailpoet_newsletter_max-height":427}},"didascalia":""}],"paragrafi_articolo_source":{"label":"Article Paragraphs","type":"repeater","formatted_value":[{"titolo_paragrafo":"For a decade, glass took centre stage at the Biennale","testo_paragrafo":"

On display alongside this gem are over 160 works that bear witness to a crucial decade for the rebirth of glass art within the context of the Venice Biennale, characterised by great freedom, inventiveness and enthusiasm. From 1948 \u2013 the year in which activities resumed following the Second World War \u2013 right through to the late 1950s,<\/span> Murano glass featured in the 24th to 29th editions of the Biennale<\/b><\/span>. <\/span>A unique decade, in which the fire of Murano\u2019s furnaces not only forged and brought to life objects of fine craftsmanship, but also shaped innovative elements that became design pieces and true works of art, as can also be seen in <\/span><\/span>the<\/b><\/span> <\/span><\/span>catalogue, edited by<\/b><\/span> Marino Barovier and Carla Sonego. This<\/b><\/span> presents an in-depth scientific study, documented in the Biennale\u2019s Historical Archive of Contemporary Arts (ASAC) and in public and private archives, which illustrates, through period photographs, <\/span>drawings and documentary material,<\/b><\/span> what was exhibited at the Biennale during that period. The history of every vase on display in the exhibition is reconstructed, including<\/span> unique pieces that have not been seen for some time<\/b><\/span>. It was precisely from 1948 onwards that <\/span>the Venice Pavilion\u2019s decorative arts exhibitions<\/b><\/span> revived their significant focus on glass, to which the Pavilion has always devoted ample space and which, in 1952, was entirely dedicated to hosting the major exhibition of Murano glass. These exhibitions showcased the renewed vitality of Murano, which, in the 1950s, experienced an<\/span> exceptionally fruitful period<\/b><\/span> in tune with the fervour following the post-war reconstruction and the subsequent economic boom, as well as with the emergence of design culture in <\/span>an Italy that was undergoing change<\/b><\/span>. <\/span><\/p>\n","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":22700,"id":22700,"title":"vetro 2","filename":"vetro-2.jpeg","filesize":63922,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-2-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-2-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:46:54","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":640,"height":427,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","medium-width":640,"medium-height":427,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","1536x1536-width":640,"1536x1536-height":427,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","2048x2048-width":640,"2048x2048-height":427,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-2.jpeg","mailpoet_newsletter_max-width":640,"mailpoet_newsletter_max-height":427}},"didascalia":""},{"titolo_paragrafo":"Unprecedented experiments and research into historic kilns","testo_paragrafo":"

It was precisely during that decade that unprecedented interpretations of ancient techniques, new manufacturing processes and experimentation with materials coexisted, with particular attention paid to the object\u2019s colour rendering.<\/span> Glass pieces<\/b><\/span> were often created<\/span> that displayed an expressive dichotomy<\/b><\/span>: from heavy pieces known <\/span>as<\/b><\/span> <\/span>\u2018sommersi\u2019<\/b><\/span> to <\/span>\u2018soffiati\u2019,<\/b><\/span> which are light and transparent; and from rich, intense colours characterised by rigorous forms inspired by Nordic design to soft, irregular lines more typical of the Italian aesthetic. Other pieces, <\/span>crafted from solid glass<\/b><\/span>, stand out instead for <\/span>their sculptural appearance and remarkable plasticity<\/b><\/span>. The stars of this period were the \u2018historic\u2019 glassworks that made the Murano style internationally renowned, such as Venini, with works by <\/span>Fulvio Bianconi and Paolo Venini<\/b><\/span>: \u2018Venini is the master of colour and the informal style, which are highly appealing,\u2019 explains Marino Barovier. Next comes Barovier & Toso, with glassworks by Ercole Barovier; Seguso Vetri d\u2019arte, with Flavio Poli; and Aureliano Toso, featuring <\/span>the <\/b><\/span>experimental work of <\/b><\/span><\/span>Dino Martens, who introduced glass grinding techniques<\/b><\/span>. The exhibition continues with Fratelli Toso, featuring Ermanno Toso, and AVEM, showcasing the experimental work of Giulio Radi, Giorgio Ferro and Anzolo Fuga, including the engraving firm S.A.L.I.R. \u2018During this period,<\/span> people were often free to produce whatever they had in mind<\/b><\/span>, resulting in glassware that differed from the Venetian tradition of the time,\u2019 continues Brovier. <\/span>\u2018Vases, for example, increasingly lost their functional purpose<\/b><\/span> to become objects of design and art.\u2019<\/span><\/p>\n","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":22702,"id":22702,"title":"vetro 3","filename":"vetro-3.jpeg","filesize":33368,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-3-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-3-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:47:37","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":640,"height":427,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","medium-width":640,"medium-height":427,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","1536x1536-width":640,"1536x1536-height":427,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","2048x2048-width":640,"2048x2048-height":427,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-3.jpeg","mailpoet_newsletter_max-width":640,"mailpoet_newsletter_max-height":427}},"didascalia":""},{"titolo_paragrafo":"David Landau: \u2018Let\u2019s hope glass makes a comeback at the Biennale soon\u2019 ","testo_paragrafo":"

The Venice pavilion also featured more recently established glassworks, such as <\/span>Gino Cenedese,<\/b><\/span> and those founded by skilled master glassmakers such as <\/span>Alfredo Barbini<\/b><\/span> and <\/span>Archimede Seguso<\/b><\/span>: \u2018Whilst Barbini, a pupil of Martinuzzi, learnt to work glass in a sculptural manner, as demonstrated by his creation of a hand, <\/span>Seguso, on the other hand, was a highly accomplished artist of the time who <\/span><\/span><\/span><\/span>had a great love for filigree, which he, however, reworked and reinterpreted <\/b><\/span><\/span><\/span><\/span>by twisting the filaments to create <\/span><\/span><\/span><\/span>distinctive objects with a rippling effect,\u2019<\/b><\/span><\/span><\/span><\/span> explains the curator. <\/span><\/span><\/span><\/span>At the same time, a number of artists, including <\/span>Ezio Rizzetto, Anzolo<\/b><\/span> Fuga<\/b><\/span>, but above all the \u2018spatialist\u2019 <\/span>Vinicio Vianello<\/b><\/span>, mentioned earlier, developed a particular interest in glass as a material, using it as <\/span>a means of expression<\/b><\/span>. A golden age that bears witness to <\/span>a dialogue with the Biennale and glass that has, unfortunately, long since been interrupted<\/b><\/span>: \u2018We have repeatedly attempted to engage with the institutions and sought to have glass readmitted to the Biennale. Cicutto was interested, but then, with the change of presidency, nothing more was done,\u201d said the creator of the \u2018Le Stanze del Vetro\u2019 project, the collector <\/span>David Landau<\/b><\/span>, who had initially proposed his glass collection for the Glass Museum in Venice. \u2018I realise that design objects such as cups and vases may perhaps be of little interest today, but <\/span>artists have now discovered that glass can be anything<\/b><\/span>, and glassworks \u2013 as the exhibition demonstrates \u2013 have long since begun working with artists to create <\/span>works of art that would be at home in any room at the Biennale<\/b><\/span>. Let us hope that glass will soon once again form part of the great International Art Exhibition.\u2019<\/span><\/p>\n","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":22704,"id":22704,"title":"vetro 4","filename":"vetro-4.jpeg","filesize":73086,"url":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","link":"https:\/\/www.gvperte.it\/en\/an-exhibition-in-venice-showcases-the-golden-age-of-murano-glass\/vetro-4-2\/","alt":"","author":"89","description":"","caption":"","name":"vetro-4-2","status":"inherit","uploaded_to":22706,"date":"2026-11-13 13:48:25","modified":"2026-11-13 14:19:01","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.gvperte.it\/wp-includes\/images\/media\/default.png","width":640,"height":427,"sizes":{"thumbnail":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","medium-width":640,"medium-height":427,"medium_large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","medium_large-width":640,"medium_large-height":427,"large":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","large-width":640,"large-height":427,"1536x1536":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","1536x1536-width":640,"1536x1536-height":427,"2048x2048":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","2048x2048-width":640,"2048x2048-height":427,"mailpoet_newsletter_max":"https:\/\/www.gvperte.it\/wp-content\/uploads\/2026\/11\/vetro-4.jpeg","mailpoet_newsletter_max-width":640,"mailpoet_newsletter_max-height":427}},"didascalia":""}]},"parole_chiave":[],"parole_chiave_source":{"label":"Keywords.","type":"taxonomy","formatted_value":false},"autore_esterno":"Francesca Catalano","autore_esterno_source":{"label":"Autore Esterno","type":"text","formatted_value":"Francesca Catalano"}},"yoast_head":"\nAn exhibition in Venice showcases the golden age of Murano glass - 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