Dating back to 1954, this pristine red goblet is the oldest piece in the far-reaching exhibition.
Despite Lino Tagliapietra‘s position as one of the most-revered glass artists in the United States with the attendant museum exhibitions, coffeetable books, and accolades, 2011 marks the first major retrospective of his work in his native Italy. Curators Rosa Barovier Mentasti and Sandro Pezzoli make up for lost time by including a thorough representation of every stage of Tagliapietra’s career in 11 rooms of the Palazzo Cavalli Franchetti, a 16th-century Venetian Gothic building right on the Grand Canal. Organized by the Istituto Veneto di Scienze, Lettere ed Arte and entitled “LINO TAGLIAPIETRA. Da Murano allo Studio Glass. Opere 1954 – 2011,” the exhibition showcases pieces from every stage of Tagliapietra’s rich and prolific career, including many early works from the 1950s, 1960s, and 1970s.
Cup, Vetreria Effretre International, circa 1987. Blown glass with application of solid cane glass sphere prototype. H 6, W 14 in.
The earliest piece is a pristine red goblet from 1954, the same year Tagliapietra attained the rank of maestro when he was just 21 years old (he gave the piece to his mother-in-law as a gift). Four rooms showcase later pieces Tagliapietra made while working at vetrerias like Ferro Galliano, La Murrina, and Effetre International, while still others highlight his Steuben residencies and collaborations with Emilio Baracco, Dale Chihuly, A.D. Copier, and Dan Dailey. The unique shape of an intriguing cup prototype Tagliapietra made while at Effetre International evokes Harold Edgerton’s Milk Drop Coronet, while vases from his tenure at Ferro Galliano look like cellophane candy wrappers left smooth and untouched.
Lino Tagliapietra (Vetreria Ferro Galliano), Vases in transparent glass, 1962. Blown glass, obtained by constriction during manufacture. Paola Ferro Collection, Venice.
While the red goblet marks the chronological beginning of the comprehensive retrospective, it is the exhibition’s center gallery that makes for a true jumping-off point. Avventura is a dazzling installation of over 100 avventurina vessels that glow from the copper particles mixed in the glass. Set in a large black shadowbox mounted on a white wall, the gilded vases and pitchers emulate Roman amphorae, vessel forms far older than the Murano glassblowing tradition and its challenging avventurina technique. The installation is similar to a piece by the same name with 125 vessel forms. This avventurina work sold for $245,000 at SOFA in November.
Masai d'Oro is part of the artist's Masai series, pieces inspired by shields used by the Masai peoples in Kenya and Tanzania. courtesy: Jim Schantz
The curators placed the Masai d’Oro wall installation in the same room, as well as Angel Tear, the piece used for the exhibition catalog and ads. Sixteen textured elliptical pieces comprise Masai d’Oro, part of a series inspired by the deeply symbolic shields used by the Masai peoples in Kenya and Tanzania. Tagliapietra elevates these utilitarian artworks to a fine art status, emphasizing their value with the color gold in lieu of the wood and leather traditionally used by the Masai. He marks each piece with a unique pattern reminiscent of the markings, or sirata, passed down for generations by the Masai.
Curator and art historian Curators Rosa Barovier Mentasti with Endeavor. photo: jim schantz
Twenty-three hand blown glass sculptures greet visitors in another room. With views onto the Grand Canal from windows behind Endeavor, it is impossible not to see gondolas in the curved, floating pieces that make up the installation. “The juxtaposition of Lino’s art in this setting underscores the relationship of his art to the rich history and artistry of Venice,” wrote art dealer Jim Schantz of Schantz Galleries, in a response to the exhibition which he attended recently.
The exhibition is on view until May 22nd, 2011. Visitors not planning a trip to Venice this spring can check out the majority of the exhibition in an online gallery or on a special Facebook page.
—Grace Duggan
IF YOU GO:
“LINO TAGLIAPIETRA. Da Murano allo Studio Glass. Opere 1954 – 2011″
Through May 22nd, 2011
Istituto Veneto di Scienze Letter ed Arti
Palazzo Cavalli Franchetti
Campo Santo Stefano
2842 – 30124 Venice
Tel: +39 041 5237819
Tuesday – Saturday 10 AM – 7 PM
Website: www.linotagliapietravenezia.com
Thank you for the nice article and being the first journalist in the U.S. to cover Lino’s exhibition in Venice. For your information, an exhibition catalogue with texts by Rosa Barovier Mentasti and Tina Oldknow is available through us at info@linotagliapietra.com for $50.00. It’s a 168-page hardcover book.
fantastic .. sharing .
beautiful wish we were in Venice with you Cecilia .
I Serafini sta davanti al fuoco dell’inferno
Soffia la sua tromba, come una conchiglia mare conchiglia
Tenendolo in braccio teso fuori
Con tutta la sua grazia e il suo fascino
Il suo corpo scintillante con perle di sudore
Lo scioglimento calore lontano, tutti i mondi tasto
Dolcemente soffia la sua creazione alla vita
Carezzevole a formarla; come le mani di una moglie
La creazione inizia, come un bambino
Prima piccola … mite … e poi dolce
Il colore, ora si farà saltare
E il suo pezzo inizierà a crescere e far crescere
E ‘più che le sabbie di questa terra
Con tutto il dolore, il sudore, e l’amore … lei partorisce
Con la sua aura qui davanti alla gloria
Ogni creazione ha la sua storia
Ricottura e ora per tutta la notte
Si farà risvegliare un nuovo piacere
English translation of above poem courtesy of Google Translate:
The Seraphim is before the fire of hell
He blows his trumpet, like a shell sea shell
Holding it in her arms stretched out
With all its grace and charm
Her body glistening with beads of sweat
The melting heat away, all the worlds key
Gently blowing his creation to life
Caressing to form it, like the hands of a wife
The creation begins as a child
Before … small … and then sweet mild
The color, now it will blow
And his piece will begin to grow and grow
And ‘more than the sands of this land
With all the pain, sweat, and the love she gives birth …
With his aura here before the glory
Each creation has its own history
Annealing and now all night
It will awaken a new pleasure
A poet that has captured the feel of glass blowing, both are magical
Miss watching Lino work, he makes it look so effortless. Watched him for hours in Danville Kentucky