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Reviews on Nº 7 2019 ICOM Glass Lectures: ICOM Glass Annual Meeting GLASS in Sars-Poteries (France) 2017 Edit ICOM international committee GLASS for museums and collections of glass ICOM INTERNATIONAL COMMITTEE FOR MUSEUMS AND COLLECTIONS OF GLASS http://network.icom.museum/glass Editorial and Board Members Reino Liefkes. Chair Teresa Medici. Secretary Sven Hauschke. Treasurer Katarina Benova Elvira Schuartz Paloma Pastor María Luisa Martínez English text correction Amy McHugh Coordinator of this journal Paloma Pastor Cover illustration Harvey K. Líttleton, Sculpture, 1968. © Paul Louis Back cover Illustration Les mascottes. © Musée Lalique Layout Cyan, Proyectos Editoriales, S.A. © 2019 ICOM Glass and authors ISSN: 2227-1317 Journal sponsored by ICOM. International Council of Museums No part of this magazine may be used or reproduced without the written permission of the publisher. ICOM Glass can not accept any responsibility for errors or inaccuracies in the information. Vase en verre soufflé, avec projection d’émaux, inv. 2017.2.3. Don Barlach Heuer. © Musée du verre, Conches / Paul Louis. SUMMARY 4 Lectures 4 Le Stanze del Vetro 12 Glass, why not? 16 Momignies, Beauwelz, Macquenoise: du verre au rêve 24 Glass in the Celje Region from the 18th Century to the Present 33 Georges Despret (1862-1952), l’aventure artistique d’un industriel verrier 39 The history and highlights of the glass collection in the State Pushkin Museum of Fine Arts, Moscow, Russian Federation 47 Le Musée du Verre de Charleroi: une histoire, un musée, une collection 56 The Conches Glass Museum: its creation, collections and future 63 Le musée Lalique 70 Museum/Center of Glass art, Carmaux, South of France 74 80 Interview Vice VERsa, News 80 Congresses & Exhibitions Sally Fawkes 81 Book review 82 News 84 86 Memories Members Converging Connections. © Paul Louis. FOREWORD The ICOM International Glass Committee is proud to present the seventh issue of its official publication Reviews on Glass. In this publication we present news of the activities of our Committee and provide a forum for our members to share common issues and remain up to date with the latest developments in our field. In 2018, the ICOM Glass Committee held its annual meeting in St. Petersburg in Russia, hosted by the State Hermitage Museum and organized by Curator Elena Anisimova. The meeting with the theme ‘Glass museums and collections in Russia’, attracted an ICOM Glass record number of 74 participants. 29 of these were from Russia. This was the first time ICOM Glass organized a meeting in Russia and the opportunity to interact with so many Russian colleagues has made this very successful annual meeting into one of our most fruitful and memorable ones. Our successful meeting has reflected positively on our membership, which increased by an impressive 23 % from 2017 to 2018, to a total of 143 voting members! Within this total our number of institutional members rose from 20 to 23. Our diversity profile has also increased, and we now represent 30 different countries, up from 24. Over 80 % of our members is still from Europe, but we were pleased to see the number from the Asia/Pacific region double, from 4 to 8. During 2018 we continued develop our Website. http://network.icom.museum/glass, where we publish our yearly newsletter http://network.icom.museum/glass/our-publications/annual-newsletter/. For the historic part of our Website, we are still looking for any issues of our Newsletter, programme or list of participants of our meetings before 1985. Please let us know if you have any! Please join us on Facebook (International Committee for Museums and Collections of Glass) or follow us on Instagram (icom_glasscommittee). In this issue of Reviews on Glass we publish a selection of the papers presented at the ICOM GLASS annual meeting 2017, organized by the MusVerre in Sars-Poteries, France. The theme of our meeting was: New museums: documenting the past and reviving glass-making traditions and focussed on the industrial glassmaking area in Northern France and Belgium. I am pleased to include an interview with Anne Vanlatum, Artistic Director of the MusVerre as well as articles about glass and glass museums in France and Belgium and beyond. I would like to thank those speakers who have taken the effort to turn their spoken papers into wonderfully illustrated published text. Finally, I would like to take the opportunity to thank Paloma Pastor – supported by Amy McHugh and Teresa Medici – for editing and putting together this issue. Reino Liefkes, outgoing Chairperson ICOM International Glass Committee LECTURES Carlo Scarpa, Rigati e Tessuti. Installation view. © Ettore Bellini. 4 LECTURES ICOM International Committee for Museums and Collections of Glass annual meeting 2017 was held in Sars-Poteries, (France), and organized by the MusVerre from 16th to 20th of October. The paper sessions explored the theme: New museums: documenting and reviving glass-making traditions. In this new issue we present a selection of lectures given at this meeting thanks to Mrs. Aude Cordonnier, director of the MusVerre and Mrs. Anne Vanlatum artistic director of the museum and member of ICOM Glass Committee. Le Stanze del Vetro Manuela Divari. LE STANZE DEL VETRO LE STANZE DEL VETRO (Rooms contemporary forms of for Glass) is a cultural project glassmaking. and a permanent exhibition space located on the Island of LE STANZE DEL VETRO is San Giorgio Maggiore in Venice. located in a former boarding school on the island. With 650 Founded in the summer of 2012 square metres of exhibition from the collaboration between space, the exhibition centre the Swiss nonprofit Pentagram hosts not only exhibitions but Stiftung and Fondazione Giorgio also conferences, workshops Cini it is dedicated to the study and other events dedicated and display of modern and to glass. 5 LECTURES The restoration was carried out contemporary artists, who For this reason, every year until by New York based architect have used glass as an original 2021, two exhibitions will be Annabelle Selldorf. means of expression, and to staged on the island. highlight and study the The cultural initiatives leading producers and major The first in spring, dedicated to of LE STANZE DEL VETRO are collections of glass the use of glass in the fields of dedicated both to promote worldwide. art and design of the 20th and 21st century; the second, in autumn, dedicated to the talented designers who created objects for the Venini glassware company in the 20th century. Parallel to the exhibition program, LE STANZE DEL VETRO holds a series of special projects, often site-specific, where contemporary artists (Swiss artist Not Vital in 2013, Japanese photographer Hiroshi Sugimoto in 2014 and American artist Pae White in 2017) are invited to consider and create a work using glass as an artistic medium. In addition to their installation, the artists are offered the opportunity to create a unique art object made of glass from Murano. The concept of these temporary installations is to allow an internationally acclaimed artist to work on a large scale, and to engage with the space between sculpture and architecture. Each project will be presented over two years, during Venice’s Art and Architecture Biennales, aiming to address both of their respective audiences as well as This slide sums up the exhibitions held until now at LE STANZE DEL VETRO. the public at large. 66 REVIEWS ON GLASS Nº 7 2019 flow of the Gualala river in Northern California, which the work echoes in both its structure and layout. As part of LE STANZE DEL VETRO project, the Fondazione Cini, with the support of Pentagram Stiftung, has set up a Glass Study Centre within its Institute of Art History. The centre aims at becoming a reference point for the international scientific community, for the study of the glass medium as a living and Pae White, Qwalala. ® Ph. Enrico Fiorese. topical material. The Glass Study Centre is promoting the creation of a comprehensive Archive on Venetian Glass, in order to gradually incorporate the historical archives of Murano- based furnaces, which include drawings, plans, letters and photos. Furthermore, the Glass Study Centre aims to set up a specialized library, at organize seminars, conferences and workshops for scholars and artists interested in the history, Paolo Venini and his furnace. Installation view. ® Ph. Enrico Fiorese. technology and developments in glassmaking. This image refers to the running 75 metres long and up to 2.4 The first exhibition that installation Qwalala by Pae metres high, it occupies the inaugurated the space was ‘Carlo White. It is the second outdoor entire area opposite LE STANZE Scarpa. Venini 1932-1947’. installation commissioned by Le DEL VETRO. Stanze del Vetro and consists of a The show reconstructed his curving wall made of thousands The title of the piece, Qwalala, creative development as artistic of solid glass-bricks, each hand- is a Native American Pomo word director of the Venini cast in the Veneto region. and references the meandering Glassworks. 77 LECTURES It was organised around a selection of over 300 works. Some of them shown for the first time. The works displayed were divided into approximately 30 types that varied according to technique and glass types from sommerso, to pennelate. The exhibition explored the significance and importance of Scarpa’s glass design within his overall work, which involved continuous research into materials, colours and techniques, both traditional and Vasi-fazzoletto vetro-incamiciato 1949-50. new, and which he carried out daily with the best master glassblowers. exhibition ever entirely glass techniques, the Macchie dedicated to glass in the series, with recognizable opaque From the series a bollicine that Metropolitan. abstract decorations that stand fills the glass with tiny out on the thick transparent bubbles, to murrine romane, The above images refer to the glass and bring to the artworks a with the variation murrine exhibition of ‘Fulvio Bianconi at distinctive pictorial value, the opache, proceeding with the Venini’ that aimed to give a Sirene and the Nudi made in variegati zigrinati, the vetri a comprehensive description of the monochrome crystal glass.

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