Venetian Glass by Carlo Scarpa at the Metropolitan Museum of Art

Venini is pleased to announce that following  the success of the exhibition “Carlo Scarpa. Venini 1932–1947”, held in Venice last year and organized by Fondazione Giorgio Cini and Pentagram Stiftung, the prestigious Metropolitan Museum of Art in New York will host and adapt the exhibit it for its public.

Thus, Venetian Glass by Carlo Scarpa: The Venini Company, 1932-1947, will be held from November 5th 2013 to March 2nd, 2014, and curated by Nicholas Cullinan, Curator in the Department of Modern and Contemporary Art, assisted by Mary Clare McKinley, Research Assistant in the Department of Modern and Contemporary Art

Consisting of over 300 works, the exhibition reconstructs Carlo Scarpa’s career during his experience as Artistic Director of Venini glassworks, from 1932 to 1947. 

Scarpa was intimately involved with production techniques and spent many hours in direct contact with the master blowers to develop new surface textures, new techniques and  colorings. 

He designed and realized, through the exceptional craftsmanship of the master blowers, hundreds of significant works in unique and groundbreaking styles. 

The exhibition will be divided into areas defined by production technique.  Among the most notable techniques developed, the Sommerso technique produces a series of thick glass items obtained overlaying different glass layers, he experimented the Murrine technique, previously made intersecting glass rods that were cold-joined and placed on a metallic slab covered with clay, which was then put into a furnace to melt the rods together and the glass piece thereby obtained was shaped using open moulds or tools.

Starting by this methods he diversified it into the Roman murrine, Opaque murrine, that were not blown but shaped using moulds and the variation called Clear Glass murrine.

He revisited the ancient Half-filigree technique, were during the manufacturing process, the rode are fire-joined and the glass slab thereby obtained is shaped into  a cylinder which is modeled with a blowpipe by the glassmaker, to attain the designed shape and he used the Corroso method obtaining a rough corroded glass surface with hydrofluoric and sulphuric acid. With the Tessuto glass Scarpa arrived to give his personal interpretation of the rod glass creating the well-known striped pieces and applying the Battuto he obtained a glass surface that recall a hammered silver effect.

Throughout his 15-year period directorship, the experiments Scarpa undertook at Venini radically redefined the possibilities of glassblowing. All these methods and techniques developed reminds us how motivated he was to research the detailing for interior design elements, just as he was for his breathtaking architectural projects. 

(Tuesday, 5 November 2013) | arts

 

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