Venetian glassware Research Papers - Academia.edu (original) (raw)

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- Glass Beads, History of Venice, Venetian Glass, Venetian glassware

This essay investigates the role of the glass business in shaping the identity of glassmakers in Renaissance Venice. First, it re-examines the debated issue of secretiveness, highlighting the role played by immigration and emigration, and stressing how mobility affected the intersection between secrets and the creation of a distinctive identity. It then focuses on trade, examining the role played by the Venetian high political bodies in protecting a manufacturing that became a matter of state. It argues that thanks to government protection the participation of glass entrepreneurs in commerce did not need any formal branding, yet only to be recognized as “Venetian.” Lastly, the case study of the Bortolussi family shows the strategies of those glassmakers who tried to ascend to a superior social status, that of Venetian “cittadini originari.”

- by Rachele Scuro
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- Art, Early Modern History, Venetian History, Early Modern Italy
- by Elisa Paola Sani
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- Glass, Venetian art and architectural history, 19th-Century Art, Venetian Glass

The glass production of the Venetian Fratelli Testolini, also know as M.Q. Testolini

- by Andrea Basana
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- History, Art History, Applied Art, Venetian art and architectural history
- by Anna Ballian
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- Ceramics, Bacini, Italian ceramics, Venetian glassware

Late Byzantine cemeteries have been located in approximately 50 different sites, all of them within the city walls of Thessaloniki. More than 500 burials have been noted and in most of them one or more glazed clay bowls were placed. In some graves glass vessels were found, almost exclusively flasks in different sizes. Islamic and Venetian sprinklers along with Venetian inghistera bottles comprise the narrow repertoire of the glass finds, which were probably used during the funeral by the priest. The use of glass vessels in early Christian and late Byzantine cemeteries in Thessaloniki and the nature of the late Byzantine glassware in the city are the topic of the present paper.

This paper argues that the proliferation of luxury goods, noatably Venetian table-glass, shaped social behaviour and refined aesthetic sensibility. It suggests ways in which Titian and Tintoretto responded in their paintings to the inventions of the Murano glass-makers, including the transparency of 'cristallo', the marbling of chalcedony glass, the random marking of ice-glass, and the spatial whirls of 'vetro a fili'.

- by Paul Hills
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- Self-Fashioning, Titian, Venetian Renaissance art, Venetian glassware

An analysis of the ways in which colour in Renaissance art and culture has been discussed in twentieth-century scholarship from Wolfflin and Fry to Shearman and John Gage. The essay concludes with suggestions of avenues for resarch in the future. These include embracing a wider range of artefacts – such as manuscript illumination, jewelry, textiles and table glass – rather than concentrating on paintings. Closer attention needs to be paid to the role of metaphor and to distinctions between different languages

- by Paul Hills
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- Colour Theory, Italian Renaissance Art, Colour, Gemstone

This essay, published in the catalogue of the exhibition of Titian's 'Poesie' for Philip II of Spain, explores how Ovid's tales of metamorphoses were matched by the transformations performed by the painter's brush. Titian's paintings were shipped to Philip along with the latest invention of the Murano glassblowers, 'vetro a ghiaccio' or ice glass. In his canvases Titian did not only depict glass, he played on the sophisticated taste for the rough beside the smooth characteristic of ice glass, rustication and grottos. In this way, Titian's handling of paint can be understood in terms of a shift in tase of the cultural elite.

- by Paul Hills
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- Titian, Venetian Renaissance art, Venetian glassware, Philip II of Spain

Essay accompanying an exhibition of the same name at the National Gallery of Victoria, Melbourne.

- by Rachele Scuro
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- History of Venice, Venetian Glass, Venetian glassware, Murano Glass

A. V. PLOKHOV, K. S. CHUGUNOVA
POLYCHROME PAINTED WEST EUROPEAN GLASS VESSEL FROM RURIKOVO GORODISHCHE
Keywords: Rurikovo Gorodishche, medieval and early modern time glass and enamel, “Aldrevandini group”, “Bohemian” glass, chemical composition, electron probe microanalysis.
The excavations at Rurikovo Gorodishche yielded two similarly looking small fragments of a vessel or vessels (fig. 1). In their outer appearance, decor and wall thickness they resemble the “Aldrevandini group” pottery, which has led to a hypothesis of their Venetian origins. Th e analysis of the chemical composition of glass and polychrome enamel of one of the fragments (табл. 1,fig. 2; 3), carried out at the Department of Scientifi c and Technological Expertise of the State Hermitage Museum, confi rmed it was manufactured in West Europe. In all likelihood, the vessel was produced using the “renaissance technology” somewhere north of Alps (Bohemia, Moravia). Th e presence of enamel painting, the skill of which was fi rst mastered by Czech artisans in the middle of the XVI c., is indicative of a relatively late date of the fragment. Taking into account some peculiarities of the chemical composition of the fragment, characteristic of the glass produced in accordance with the “Gothic formula”, the arrival of the polychrome “Bohemian” vessel to the banks of the Volkhov can probably be dated to the second half of the XVI c.

- by Alexei Plokhov and +1
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- Glass (Archaeology), Medieval Glasses (Archaeology), Ancient Glass, Ancient Glass Analysis
- by Rachele Scuro
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- History of Venice, Venetian Glass, Venetian glassware, Murano Glass

Since the Renaissance, glass has been associated with Venice like no other material. It represents a local industry and its international prestige. While research has mostly focused on high-end products, this chapter takes a broader approach. It illuminates the entire spectrum of glass production and its significance for the economy and trade of Renaissance Venice. It investigates how glass as a material affected the society of Renaissance Venice. In general, the low price of glass made it in general affordable to growing social groups and its distinct malleability allowed them to participate in the formal and aesthetic ideals of the Renaissance. Given the industry’s economic and trading importance, glass was ubiquitous in Venice; diverse professional and social groups were engaged in it, generated a shared sense for the material and developed a nuanced lexicon that was used in social, cultural, and religious debates. In material, pictorial as well as literary form glass and its mat...

- by Tassos Antonaras
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- Death and Burial (Archaeology), Ancient Glass, THESSALONIKI, Venetian glassware

Drawing upon the insights of John Ruskin and Manfredo Tafuri, I argue that Jacopo Tintoretto's response to 'the modern manner' in sculpture, architecture and painting is modulated by habits of composition derived from Venetian Gothic. The ogee arches typical of Gothic architecture and decoration in Venice inform Tintoretto's dynamic configurations of figures in space. His delight in spiralling forms is comparable to devlopments in Venetian table glass, especially those twisted 'a retorti'.

- by Gunnar Möller
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- Venetian glassware

Assemblages of medieval glass from Venice, the leading glassmaking centre in Europe, are rarely accessible for analysis. Here we present electron microprobe analyses of sixty-one glass vessels dated to between the 12th and15th centuries from the island of Murano, which from the late 13th century was the centre of glass production in the city. All appear to have used the same type of soda ash, with similar levels of soda, magnesia, potash and phosphate and this is likely to have originated in the Levant. The alumina, iron and titanium contents suggest that three different silica sources have been used for the glass. Comparison with the available data from Venice and elsewhere in northern Italy suggests that the assemblage may include material made on the island. Furthermore, there are similarities with glass from the Levant and Egypt raising the possibility that raw glass from several regions may be represented. However, records indicate that Venice imported sand as well as raw glass from the Levant, which remains a possibility in the present case.

- by Corisande Fenwick and +2
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- Medieval Glasses (Archaeology), Ancient Glass Analysis, Islamic Glass, Venetian glassware

In this chapter of my book "Venetian Colour", I argue that the technical innovations of the Murano glassmakers and the mosaicists of the Mascoli Chapel prepared the way for the chromatic achievements of Giovanni Bellini and Titian. The glassmakers, with their refinement of "cristallo" and sandwich-glass, "millefiori", "lattimo" and chalcedony glass, demonstrated the beauty of translucent colour and the value of pearly white. Colour was transfigured as molten or hovering in space. The glass mirrors of Murano, developed in the 1490s, again revealed colours as mobile or fleeting. The painters responded by developing oil glazes and by contrasting translucent colours with the density of lead-white.

- by Paul Hills
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- Giovanni Bellini, Titian, Colour and Light, Venetian Renaissance art

Thanks to the contribution of Pentagram Stiftung, the Fondazione Giorgio Cini offers one 6 month-residential scholarship worth 12,500 euros for the purpose of studying 20th-century glass-making art in Venice. Part of the Stanze del Vetro project, the scholarship will be awarded to an Italian or foreign PhD student, to be used in completing a thesis, or to an Italian or foreign post-doctorate scholar wishing to spend six months doing research at the Glass Study Center in the Institute of Art History in the period April–December 2016.

- by Marta Zoppetti
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- Glass, Medieval Glasses (Archaeology), Stained Glass, Glass & Glass-Ceramics