Sculptures

Permanent exhibition of the best Primary works of art of the following talented Murano’ Masters:

Dino Rosin, Pino Signoretto, A.Dalla Valentina, Ermanno Nason, Walter Furlan

Each work of art is accompanied by the Artist’ preparatory drawings, the certificate and his declaration of Primary work of Art

 

Dino Rosin

Dino Rosin was born in Venice, Italy on May 30, 1948. His family moved to the glassmaking island of Murano when he was two months old. At the age of twelve, he left school and began work as an apprentice at the Barovier and Toso glassworks where he remained until he joined his brothers, Loredano and Mirko, at their factory, Artvet, in 1963. Dino continued at Artvet until 1975 when he moved to Loredano’s newly established studio as his assistant. There Dino collaborated with his brother for almost 20 years. He was Loredano’s right hand in the “piazza” and a master in his own right in cold work.

In 1988, Dino Rosin was invited to Pilchuck Glass School in the state of Washington to teach solid freehand glass sculpture with Loredano and the American glass artist, William Morris. Then in 1992, Loredano met an untimely death in a boating accident. Dino assumed the role of “maestro” and began single-handedly to produce his brother’s old designs and ultimately his own., His skillful use of “calcedonia” glass is unique and makes his pieces recognizable and highly collectible.

Dino Rosin uses the ancient technique of “calcedonia” coloration for his glass works of art. Each sculpture has its own unique coloration, not to be duplicated. Colors range from bright yellows to deep purples,varying on the metals used, temperature and duration the glass is in the furnace. There are many styles to choose from but no two are ever identical. In Dino Rosin’s works, the designs are similar but colors will always vary

Pino Signoretto

Maestro Pino Signoretto was born in 1944 in a small town near Venice. In 1954 he began to work in a chandelier factory. In 1959 he apprenticed from the great master ALFREDO BARBINI and others such as LIVIO SEGUSO, ERMANNO NASON and ANGELO SEGUSO. In 1960 he became a glass master. He acquired a complete understanding and full technical knowledge of glasswork techniques. In 1978 he opened his own studio in Murano. He cooperated with artists and architects amongst which were DALÌ, VEDOVA, LICATA, KRUFT, DAL PEZZO, VITALI, POMODORO, WILLSON.

A.Dalla Valentina

Adriano Dalla Valentina was born in Murano in 1945. He began working in a glass furnace at the age of 10, spending the next fourteen years performing varied tasks in several Murano furnaces. This vast experience allowed him to perfect his glass working skills. With this treasure of knowledge, at the age of 24 Adriano established his independence by opening his own furnace. Throughout the years, he built a reputation in Murano as one of the greatest Maestros, a model for future generations. Thanks to his dedication to keep the glassblowing tradition alive, he has devoted himself to work with the students of the Art Institute of Venice, resulting in award winning designs. His talents span various glass working techniques, though he is best recognized in the typical venetian style: “Murrina and canne” working 1998 Adriano presents “Four Seasons” at the second edition of “Venezia Aperto Vetro” at Doges Palace.

 

Ermanno Nason

Ermanno Nason was born on July 21st, 1928 in Murano. He belongs to one of the oldest families on the island, whose recollections date back to 1300. They breathed glass, they lived glass: grandfather, father, uncles, brothers, they all worked glass. All good Maestroes both in design and manufacture. “Pasta de vero dentro al serveo, questo gera I Nason” – molten glass in the brain, that was the Nason’s. “You have to start working very young, if you want to be very good in this job” This was the Maestroes theory and indeed little Ermanno was standing at the age of 7 at the door of his father’s glass blowing shop, Italo “Otello”: Messrs Nason&Zaniol (better known as “The two Foscari”. I was still attending the elementary school when I start working” – he says.

“My passion for glass was so big that I couldn’t help but passing by my father’s glass furnace every day after school. I watched him at work, tiring, perspiring, but happy. Then I learnt the basic steps, like taking glass out of the oven, which looked like the hell mouth to me. The hot stuff was very heavy, it was hard to keep it balanced. Glass was like water, though the Glass Blowers were able to bring it out, lift it up in the air – in that typical way only glass blowers know – and shape it. And many people were walking around, opening out bubbles of glass to shape plates and other items. It was incredible.

Little by little he fell in love with his work, carrying it out with ever-increasing dedication. He left school and shared his time between the workshop and the Scuola “Abate Zanetti” per apprendisti vetrai (The Abbott Zanetti School for glass blowing apprentice) night school led by Prof Vittorio Zecchini whose purpose was the drawing learning. But the most incredible and extraordinary experience of his life happened while he was the first Maestro at the Glass workshop “Mazzega”: an unknown gentleman came in one morning with a folder full of drawings. He showed the drawings and asked whether it would be possible to reproduce them into glass.