Higher Education Course Study Days on Venetian Glass Approximately 1600’s

Istituto Veneto di Scienze, Lettere ed Arti 27th and 28th of Febr uar y, and 1st of March 2013 glass venicein

Glass in Venice Project The Study Days on Venetian Glass 2013, in its second edition, register the Agreement between the Istituto Veneto di Scienze, Lettere ed Arti presence of forty or so glass experts from all over Europe, Russia and the and the Fondazione Musei Civici di Venezia in relation to glass and United States, including museum curators, scholars, collectors, restorers, glass the Muranese glass production artists. In the three Study Days a rich programme features seminary lessons, Glass in Venice Prize, Study Days on Venetian Glass, Website, Exhibitions visits and practical demonstrations of the ancient techniques, with reports Glass in Venice is the important convention between the Istituto Veneto di and communications by professors and participants, all specialists in the Scienze, Lettere ed Arti and the Fondazione Musei Civici di Venezia presented field, making this event one of the most important of its kind organised on an last November on the occasion of the first edition of the Glass in Venice Prize. international level. The pact is the expression of the two Venetian institutions’ decision to launch a close collaboration for a series of events promoting the legacy of glass art on an Our aim is again to offer the scholars of Venetian glass, but also glass of the international level. The aim is to sustain the lagoon city in its own intrinsic role as a cosmopolitan laboratory of culture and a meeting place for the masters of most varied traditions, an opportunity for in-depth study and encounters, with the exquisite Muranese art, artists, and institutions. an ample exchange of knowledge and experience. In addition we hope that, again The agreement, signed by Gian Antonio Danieli, President of the Istituto with this event, Venice may become more than ever the world centre for the study Veneto, and Walter Hartsarish, President of the Fondazione Musei Civici of ancient glass, but also that Venice be reconfirmed as one of the outstanding di Venezia, entails joint action regarding the Prize, the Study Days and the meeting places for scholars, artists, collectors of ancient and contemporary glass creation of a website that should become an authoritative source of information in its most diverse expressions and schools. and documentation on Venetian glass and international glass production, up-to- date on the most important exhibitions and events. This substantial and high-profile programme, particularly significant for the For the Istituto Veneto today, Glass in Venice is the natural outgrowth of its city, is undertaken by the Istituto within our agreement with the Fondazione commitment to the art and technique of glass ever since the 19th Century. Among Musei Civici di Venezia for various activities and events in the field of art glass. the Istituto’s cultural activities, especially in the past ten years, exhibitions, lectures, and since last year seminars for specialists have focused on the glass arts. The Fondazione Musei Civici di Venezia, directed by Gabriella Belli, and the Glass Museum of Murano play an essential role in promoting the preserved art The President of the Istituto Veneto heritage and diffusing knowledge about this ancient artistic expression. di Scienze, Lettere ed Arti Founded in 1861, first as an archive, and now recognised as one of the most interesting exhibition venues of the international circuit, the Murano Gian Antonio Danieli museum will soon benefit by an important extension and consequently a new museological design. Higher Education Course Study Days on Venetian Glass Approximately 1600’s

Istituto Veneto di Scienze, Lettere ed Arti The “Study Days on Venetian Glass” are an opportunity for in-depth 27th and 28th of February, and 1st of March 2013 study on Venetian glass and are tuned to an audience of Museum conservators, collectors and experts. The programme includes lessons by experts who, after a general overview, will guide participants through the direct study of methods and pieces, encouraging participants to actively take part, also through presentations. Lessons and discussions will be held in English; contributions in Italian will be translated into English by the seminar curators.

The topics that will be touched upon will include: General overview of the history and art history of glass; Raw materials and casting/processing techniques; With the support of Archaeometrics; Corning Museum of Glass Ecole du Louvre Conservation and Restoration. Fondazione Musei Civici di Venezia The seminars will be completed by a tour of the Murano Glass Museum Institut national du patrimoine and by practical demonstrations in glassmaking studios. Victoria & Albert Museum

With the participation of UNESCO Regional Bureau for Science and Culture in Europe Venice (Italy) Scientific and Organizing Committee

Organised with the collaboration of Rosa Barovier Mentasti, Glass historian AIHV – Association Internationale pour l’Historie du Verre – National Italian Sandro Franchini, Cancelliere Istituto Veneto di Scienze, Lettere ed Arti Committee LAMA – Laboratorio Analisi Materiali Antichi dell’Università IUAV, Venezia Lorenzo Lazzarini, LAMA- IUAV University of Venice Museo del Vetro, Fondazione Musei Civici di Venezia Sandro Pezzoli, Collector Lino Tagliapietra, Artist and glass master Our acknowledgements go to the Regione del Veneto and Scuola Abate Zanetti Marco Verità, LAMA- IUAV University of Venice wednesday 27th february session 1 isabelle biron and marco verità About the difficulty to distinguish between Renaissance enamelled Venetian 9.30 a.m. General historical and artistic overview glass and façon de Venise glass Laboratoire du Centre de Recherche et de Restauration des 10.00 a.m. rosa barovier mentasti, cristina tonini Musées de France, Paris e Laboratorio di Analisi dei Materiali Tools for studying ancient glass: paintings and graphic Antichi LAMA, Université IUAV, Venise works, inventories Abstract - The analytical results obtained on about twenty Abstract - Between the 16th and 17th Centuries, Venetian glass enameled Venetian glass objects from the Louvre collections and à la Façon de Venise: shapes and decorations. Comparison are presented. Interesting details are disclosed on the and contrast of similarly dated inventories from Murano, glassmaking technology and the raw materials and colorants Italy and Europe, and figurative sources. Both are used to used. The comparison between these data and the recipes suggest dating strategies, identify specific glass products and in Venetian glassmaking treatises allowed identifying a group terminological references. Special attention is attached to of objects corresponding to the genuine Venetian Renaissance diamond-tip etched glass, some cold decorated. production, while some discrepancies were found for other objects, probably being ascribable to contemporary 11.30 a.m. marco verità productions outside Venice (façon de Venise), or to Muranese Raw materials, casting and handling techniques or European manufactures from the 17th – beginning of 20th. Abstract - Scientific assays and ancient recipes are compared to reconstruct the main features and innovations of Venetian comments by participants glass between the 15th and the 17th Century. chiara berichillo session 2 Documents attesting to the glass production at Piegaro between the 15th and the 17th Centuries 2.30 p.m. william gudenrath and lino tagliapietra Processing and decorating techniques kinga tarcsay Studies on glass of the 16th and 17th Centuries in Austria 3.30 p.m. Speeches by suzanne higgott All-glass composites/hybrids: how were they made, who might have made kitty laméris them and how to detect them? Some new insights about sixteenth and seventeenth Century vetro a retortoli (Curator of Glass, Limoges Painted Enamels and Earthenwares, glass the Wallace Collection), in collaboration with Juanita Navarro (independent ceramics, glass and enamels conservator-restorer) sylvie lhermite king Abstract - Close observation reveals that numerous Venetian/ French Glass, 1550-1750 façon de Venise glasses in collections today are hybrids assembled from two or more parts of different and often authentic 16th and 17th Century glasses. The quality of their assemblage ranges from crude to invisible. This talk will provide a brief overview of how they were made and how to detect them as well as considering whether some of them were produced by later 19th Century dealers. thursday 28th february session 3 dora thornton Venice or façon de Venise. Two glasses in the British Museum of c1600 9.30 a.m. marco verità Avventurina, girasole and other innovations katerina mavromichali between the 16th and the 17th Centuries in Murano glass Venetian glass as “lustro e decoro della cittá”: Social routes, collections and Abstract - Case studies focusing of artefacts dated between the consumer cultures in the 17th Century and the current cultural crisis 16th and the 18th Centuries compared to period texts enable the description of some of the main innovations in Venetian glass. 2.30 p.m. corinna mattiello Restoration and conservation issues associated to glass artefacts Speeches by reino liefkes Abstract - Following a general overview on the issue of 17th Century Venetian glass in the V&A Museum, London, restoration, there will be a presentation (accompanies by Victoria and Albert Museum, London images) of the different solutions implemented depending on Abstract - Reino Liefkes will discuss highlights of 17th Century specific issues, and aesthetic and formal choices associated to Venetian glass in the V&A collection and discuss the issues the artefacts considered. surrounding their attribution. Speech by käthe klappenbach eva putzgruber Venetian chandeliers from the 16th Century onward and their influence on The lampworked glass collection of Archduke Ferdinand II of Tyrol chandelier production in Brandenburg-Prussia – history and technique of lampworking in the 16th Century Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg Universität für Angewandte Kunst Wien Prussian Palaces and Gardens Foundation Potsdam. Abstract - Lampwork is a technique, in which glass rods and Abstract - Chandeliers are very complex works of art and most tubes are heated in front of an oil lamp’s flame, shaped and important glass working techniques are resembled in these fused together. The Collection of Sculpture and Decorative Arts of the precious objects. For their owners chandeliers represented Kunsthistorisches Museum Vienna holds a unique and largely unexplored objects of prestige, functioning to show their financial power collection of lampworked glass items. They were most likely and appreciation of art. Although Venetian glassmakers made at the Innsbruck court glasshouse (1570-1591). Archduke belonged to the firstproducers of chandeliers, which is proven Ferdinand II. employed Venetian glassmakers and two lampworkers by a source from the 16th Century, the history of Venetian glass there, who only furnished the needs of the court and returned to chandeliers is not studied yet. Venice immediately after fulfilling their contracts. The in-between Therefore it is time to search for early Venetian pieces and to position of the glass collection enables insights into the production investigate their history and impact as a model. at the Innsbruck glasshouse, as well as the workshops at Venice. session 4 - comments by participants comments by participants lavinia de ferri angelo agostino Hybrid sol-gel based protective coatings for historical window glasses Limoges enamels in Piedmont, non invasive analysis Co-authors A. Lorenzi, P. P. Lottici, A. Montenero, G. Vezzalini

andrew meek dana rohanovà Recent scientific investigation of Venetian glass at the British Museum Potassium glasses produced in Bohemia – raw materials and batches teaching staff

filomena gallo rosa barovier mentasti Medieval glass from Rocca di Asolo: local production or Venetian importation? Co-authors A. Silvestri e G. Molin Descending from one of Venice’s ancient glass making families, Rosa Barovier Mentasti was awarded a degree in Ancient antonio pires de matos Literature by the University of Padua in 1973 with a thesis on Venetian Glass in Contemporary Art antique glass. Since then, she has been dedicated to studying the history of both ancient and modern Venetian glass. In addition to many articles and publications, including Il Vetro Veneziano dal Medioevo ad oggi published in 1982, she has curated st friday 1 march several international exhibitions of ancient and contemporary glass, including Vetri. Nel Mondo. Oggi, hosted by the Istituto session 5 Veneto di Scienze, Lettere ed Arti in Venice in 2004.

9.30 a.m. Demonstration of workmanship at the Glassworks of the Abate Zanetti Glass School in Murano william gudenrath (Lino Tagliapietra and William Gudenrath) As resident advisor for the Studio of the Corning Museum 2.00 p.m. Visit to the Murano Glass Museum of Glass, he teaches introductory and advanced courses in Venetian techniques. A glassblower, scholar, lecturer and teacher of glassblowing, he is an authority on historical hot glassworking techniques from ancient Egypt through the final session and diplomas in ivsla Renaissance and has presented lectures and demonstrations throughout the world. He demonstrates techniques he believes 6.00 p.m. to have been employed by glassmakers of the past and these are described in a number of books and video segments including: Chronicle: the Portland Vase, Five Thousand Year of Glass, concert Journey through Glass: A Tour of the Corning Museum Collection and MasterClass Series II: Introduction to Venetian Techniques, Glass Masters 7.00 p.m. at Work: William Gudenrath, Glassworking Processes and Properties. corinna mattiello cristina tonini

Following a degree in architecture at the University of Venice, With a degree in History of Art awarded by the State she was awarded a diploma by Istituto Centrale del Restauro University of Milan under the guidance of Prof. De Vecchi, in the area of ancient metal works and ornaments. She then from 1989 to 2004 she acted as Conservator for the attended a higher education course in stone works. She has classification and the new layout of the Bagatti Valsecchi been working as freelance consultant since 1975, initially Museum in Milano. Together with Rosa Barovier she published mainly for the Superintendence and Museums of Latium in the catalogue of the museum’s Venetian glass. She also curated the area of archaeological restoration and then, after her the catalogues of the Medieval and Modern glass collections of move to Venice, as consultant for Foundations, Museums and the Civic Museums of Pavia, of the Pinacoteca Ambrosiana in Superintendents of the Veneto Region, mainly in the area Milano and the Pogliaghi Museum in Varese, the latter is about

of glass restoration (Museo Vetrario in Murano, Museum of to be published. Other articles on Venetian and Medicaean Altino), sacred gold treasures (Tesoro di San Marco, Tesoro glass have been published by Decart and the Journal Glass della Scuola Grande di San Rocco) and the restoration of large Studies of Corning Museum of Glass. She is part of the bronze works (the horses of the Basilica, Cappella Zen). Board of Directors of the Italian section of the Association Internationale Histoire du Verre. She is professor of art in the Orsoline Artistic Liceo in Milano. lino tagliapietra

Exceptional glass master and well known world-round as glass marco verità artist. He was born in Murano and was just a young man when he first entered a glass makers shop: he became a glassmaestro Holding a degree in Chemistry, he worked for over thirty years in the 1950’s and has worked for some of the most prestigious in the Stazione Sperimentale del Vetro in Venice-Murano, glass makers in the island. Since the late sixties his creativity performing research and assessments on glass materials, both resulted in models of great quality, both from the point of modern and ancient, the latter for archeometric purposes and view of technique and beauty, that were a clear success on the also to assess issues relating to conservation and restoration. market. He has been an independent glass artist since 1990 and Member of numerous international organisations, since 2009 is now committed to creating unique pieces that are exhibited he has been working with the Laboratory for the Assessment of in the most prestigious private collections and museums Ancient Materials (LAMA) of the IUAV University of Venice. worldwide. In 2009, the Tacoma Art Museum dedicated a retrospective to his works with an exhibition that was then lent to other US museums. In 2011, the Istituto Veneto dedicated to him the exhibition Lino Tagliapietra, da Murano allo Studio Glass. list of participants isabelle biron Suzanne Higgott is a long-serving of the ICOM International Glass in sophisticated research techniques member of the Board of the Committee and served as Chairman/ and technologies involving materials Initiated the study of glass and Association for the History of Glass President on the committee from analysis, surface technology and enamel in the laboratory; all (the British section of the AIHV) and 1995 to 2001. superconductors. He is now working periods, all types of objects: glass a Fellow of the Society of Antiquaries on the application of quantitative elaboration, fabrication techniques of London. eva putzgruber approach in the study of light matrix of objects, material characterization, (enamels, glasses) by means of raw materials, authentication, käthe klappenbach finished her studies in Conservation portable XRF. dating, alterations of chemical and and Restoration at the University mechanical origins, conservation, is Curator of Luminaria and of Applied Arts Vienna in 2006. françois arnaud establishment of a technical and Minerals and Head of the Inventory After two years as a free-lance analytical data-base, glass and enamel Department in the Palaces and conservator for metals, porcelain has been a glassblower for 19 years. For elaboration. Collections Department from and glass, she joined the Collection 7 years he learned and worked in several In charge of studies on Objets d’Art the Prussian Palaces and Gardens of Sculpture and Decorative Arts workshops in France. Then, he worked and Archaeological artefacts made of Foundation Berlin-Brandenburg. She / Conservation Department at the for 5 years in various countries including glass held by the French Museums, is specialist for glass and rock crystal Kunsthistorisches Museum Vienna. Italy, Canada, South Africa, Argentina, Historical Monuments, National chandeliers as well as other Luminaria. Since 2010 she is Assistant Professor Czech Republic, India and Syria. Archaeological Institutions (DRAC) Since 1977 she is working in the at the Institute of Conservation of the After these 12 years of experiences he and foreign museums. In charge of the Palaces Department of the Palaces University of Applied Arts Vienna. decided to create his own studio in a scientific research of «glass» material, and Gardens Administration Potsdam- She is responsible for the academic process of experimental archaeology, mechanisms of chemical degradation, Sanssouci and since 1983 in Inventory training of students at the Objects «Atelier PiVerre - Souffleur de Verre» technologies of antimonate opacified and research of the Luminaria Conservation Department and is at La Plaine-sur-Mer, France. glass and gilding techniques Collection; She has written numerous presently working on her dissertation Today François Arnaud is a throughout History. scientific publications, papers and in the field of glass history and glassblower working alone on his given scientific advices to museums technology. thighs like Mesopotamian craftsmen. suzanne higgott in Europe and the United States concerning Chandeliers and glass. françoise barbe After completing her university studies, Suzanne Higgott joined the reino liefkes angelo agostino Curator in the Louvre Department staff of the Wallace Collection as the of Decorative Arts, Françoise Barbe Museum Assistant. Since 1999 she Senior Curator and Head of Ceramics Ph.D. in Chemistry, is researcher is responsible for the Renaissance has been Curator of Glass, Limoges & Glass at the V&A Museum, at the University of Turin, Italy. He ceramics, painted enamels and glasses. Painted Enamels and Earthenware. London, Reino specialises in glass and boasts an international experience She is currently involved in several Her publications on glass include European earthenware and was Lead in large-scale facilities (i.e. European research projects with the Centre de articles on French Renaissance Curator of the new V&A Ceramics Synchrotron Radiation Facility - recherche et de restauration des Musées enamelled glass and 19th Century Galleries which opened in 2009-10. Grenoble) and over ten years of de France, especially on Venetian British glass associated with Sir Reino is the author/editor of Glass experience as scientist in an academic enamels and glasses. She recently Richard Wallace, as well as, most (V&A 1997) and contributed to many environment. He developed an organised the exhibition «Majolique. recently, The Wallace Collection V&A exhibitions and catalogues expertise in X-ray Fluorescence La faïence au temps des Humanistes. Catalogue of Glass and Limoges including «At Home in Renaissance (XRF) and X-ray Powder Diffraction 1480-1530» (Musée national de la Painted Enamels (2011). Italy» (2006). He is Board Member (XRPD) and a high-level experience Renaissance, Ecouen, 2011-12). stefano barenghi erwin baumgartener francesca colangeli lavinia de ferri

Bachelor graduate in Chemistry studied art history at the Basel She is graduating in Cultural She graduated in 2008 in «Science for at the University of Milan, University. Master thesis on a private Heritage, Archaeology, at the Cultural Heritage» at the University Master graduate in Chemistry for collection of medieval glass (Amendt University of Rome «Tor Vergata». of Parma and she obtained the Ph.D. Conservation and Restoration at Ca’ collection, exhibited in Düsseldorf, She has participated in excavations at the University of Modena e Reggio Foscari Venice University. In 2012 Rotterdam and Coburg, 1987/88). led by the University of Siena Emilia, defending a thesis entitled he wrote his Master thesis at the 1988 together with Ingeborg Krueger (Castle of Cugnano, with the «Characterization and ageing of University of Antwerp, Belgium, catalogue and exhibition «Phoenix direction of Prof. G. Bianchi) and medieval-like glass for the design of where he is presently employed as aus Sand und Asche. Glas des the Pontificio Istituto di Archeologia protective coatings».Currently she visiting researcher. The object of Mittelalters». Since 1989 work for Cristiana (Basilica circiforme Via has an INSTM fellowship at the study is glassmaking from natural the Denkmalpflege Basel. Several Ardeatina, with the direction of Politecnico di Milano and she works raw materials, according to ancient publications on European glass Prof. V. Fiocchi Nicolai). During her on the functionalization of different recipes, and analyzing natural glasses. (mainly concerning Venetian and studies she had the opportunity to substrates by sol-gel process. «façon de Venise» specimen, e.g. participate in various classification marc barreda museum/exhibition catalogues Musée workshops of archaeological material, antónio pires de matos Ariana, Genève, 1995, Musée des Arts particularly of medieval pottery and is an American artist who has been décoratifs, Paris, 2003). generally focusing on post-classical Degree in Chemical Engineering, working with glass for nearly 14 years. Member of the «Association archaeology. She is currently studying Technical University of Lisbon 1962. He currently lives in Amsterdam Internationale pour l’Histoire du the medieval glass finds from the Ph.D. in chemistry, Cambridge, U.K., where he completed his Master of Verre» since 1979, actually member archaeological excavation of the 1970. Fellow of the Society of Glass Applied Art at the Sandberg Institute of the Executive Committee and of Colosseum, with the direction of Technology, U.K. since March 2009. in 2012. Marc Barreda has studied the national Committee preparing the Prof. R. Santangeli Valenzani and the Emeritus Invited Full Professor at and worked around the world with 2015 Congress in Switzerland. supervision of Prof. A. Molinari. the Universidade Nova de Lisboa. artists and craftsmen and at various Current research activities at the institutions including: The Corning chiara berichillo inês coutinho Research Unit Glass and Ceramics Museum of Glass (US), The Vrij for the Arts, VICARTE (www. Glas Foundation (NL), Fundacion After graduating in 2003 in Classics Currently doing Ph.D. on vicarte.org): Provenance studies of Centro Nacional del Vidrio (ES), with archaeology as her major, she Conservation Science entitled «A new Portuguese glass; Science applied to Domaine de Boisbuchet (FR) and the earned her diploma at the School of insights on the 17th and 18th Century contemporary glass art. Creative Glass Center of America Specialisation in Archaeology of the Portuguese glass collections study (US). Currently he is developing a University of Padua. She operated in and preservation» being developed francesca de munari project in the Netherlands focused cultural popularisation and museums, at Vicarte (research unit «Glass on exploring and highlighting the working for several Umbrian firms and Ceramic for the Arts»). Solid She is graduating in a master degree, extensive Dutch glass history through active in museum management. She academic training in Conservation Art History and Conservation of academic and practical approaches. teaches in secondary schools and and Restoration with Master and cultural heritage, from Ca’ Foscari in since 2009 is director of the Glass Graduation at FCT--‐UNL. This Venice, with a thesis in History of Museum of Piegaro (PG). scientific background resulted on Modern Art Collection. She worked several communications. for Vicenza Diocese for catalogation of ecclesiastical heritage, a project of the Italian Bishops’ Conferenze and she collaborated with Vicenza Diocesan keith king patrick lemasson julia a. likhter Museum from 2005 to 2009. Daughter of collectors and collecter herself, since In his youth, early English lead-glass University of Paris-Sorbonne (degree, Moscow State University diploma 2009 she manages the family antiques captivated his imagination as an master’s, DEA) (History faculty, Department of store. Since 2012 is registered as expression of good design, in which History teacher between 1984 Archaeology), 1974. Ph. D. degree antiques and liturgical objects expert at form and function are harmoniously and 1996. Curator of numerous (Moscow State University, History Vicenza Chamber of Commerce. unified. So grew the seeds of a exhibitions and of 17th and 18th faculty, Department of Archaeology), glass collection. In more recent Century Decorative Arts in the 1988. filomena gallo years, he and his wife, Sylvie, have Petit Palais, Paris, and of Ancient Membership: Association significantly expanded that collection, Decorative Arts (from the Middle Internationale pour l’Histoire du Verre Always passionate about the application notably with acquisitions of Italian Ages to the 18th Century). Since 2010 – 1998-1999. Russian Association of of scientific methods for studying Renaissance and 17th Century French is chief curator. Glass Historians (2011). She is the ancient materials and artifacts, in glass. He has been an active member author of 35 articles about ancient 2007 she graduated in Science for of the AIHV, acting as General sylvie lhermite-king Glass. Cultural Heritage from the University Secretary, and is a member of the of Florence. In 2009 she started a Glass Circle in the UK. Italian Renaissance and façon de augusta lima Doctorate, successfully completed Venise glass of the 16th and 17th in 2012, at the University of Padova, kitty lameris Centuries has been the prime area Augusta Lima is a glass and ceramics under the supervision of Prof. G. Molin. of Sylvie’s professional and private conservator and Assistant Professor The project focused on the geochemical With a degree in Italian language and interests for over 30 years. As a at the Department of Conservation characterization of Roman and Late literature Kitty Laméris is, together well-established antique dealer in and Restoration of the Faculty of Roman glasses coming from the North with her sister Anna and brother Paris, she has helped create several Sciences and Technology of the New Adriatic area, in order to identify Willem, the owner of the antique major private collections in France University of Lisbon. With a master the type and the provenance of raw shop Frides Laméris Art and Antiques, and advises a number of French degree in Conservation Sciences, she materials employed in their production. specialized in glass and ceramics. and North American museums on is currently doing a PhD on corrosion So far, she is a Post-Doctoral fellow at One of her specialties is Venetian their own public collections. She of historical and contemporary glazes. the Department of Cultural Heritage and Façon de Venise glass of the is a member of the leading antique Moreover, her main research interests of University of Padova, where sixteenth and seventeenth Century. dealers association in France and of are the study of reliable analytical she is carrying on a project on the In the past 20 years she has written the vetting committee of the Tefaf techniques for the characterization geochemical characterization of Roman different articles about the subject, Fair in Maastricht, with responsibility of ceramics and glass and provenance and Medieval North Adriatic glasses. together with her father Frides for Renaissance and later European studies of Portuguese glasses, with Laméris she made an exhibition and glass. Among her specialist subjects publications in scientific journals. aurelie gerbier catalogue about Venetian and Façon are French glass and her exhibition in She did an internship at The Corning de Venise glass in the church at the 2008, presenting objects from 1550 Museum of Glass (USA) and has is a curator at the National Museum of Dam Square de Nieuwe Kerk. Kitty to 1750, accompanied by a catalogue, collaboration work with the Materials the Renaissance (Chateau d’Ecouen, also teaches future restorers of glass at Cent Verres Français, provided a Research Institute (Pennsylvania State France) since July 2012. She is in the University of Amsterdam (UVA), unique opportunity to study the many University, USA). She is member of charge of the glass collection, the and gives lectures about the subject. facets of French glass production over the Research Unit VICARTE «Glass stained glass collection, the German In 2012 she wrote a catalogue about that period. and Ceramics for the Arts». stonewares and Palissy wares. filigrana glass entitled:A Collection of Filigrana Glass. denise ling activities of the museum. She has Since 2008 she has been working for She has a Masters degree (MA) in participated in European programs the Museo dell’Arte Vetraria Altarese, Restoration with a main focus on Denise Ling began her career in 1978 as a member of the scientific team dealing with the overall layout glass conservation and restoration as a precious gemstone buyer and and as a national trainer; she has and management of the collection, (stained-glass, vessel glass) as well as a sorter for a jewellery manufacturer teaching experience on graduate and international loans and organisation Bachelors degree (BA) in Museology. and a precious gemstone importer postgraduate level and her research of exhibitions. She works as a Curator Presently she is working as a free- in Hatton Garden, London. In work has a special focus in the since 2011. lance conservator with a focus on 1986 she moved into a career in history of glass, both ancient and historic chandeliers and vessel conservation and joined the British modern, and also includes subjects dana rohanovà glass. On an interdisciplinary level Museum as an assistant conservation on archaeology, history of art, Bettina develops and implements officer in the Ceramics and Glass cultural management, museology and Since childhood she has been documentation structures for glass and Conservation Section. She has conservation of cultural heritage. interested in glass. She started Glass crystal collections. worked in all areas of ceramics and study at the «Industrial secondary glass conservation including low fired andrew meek school» focused on Glass technology ekaterina stolyarova ceramics and porcelain and is now (1984). Then she continued to senior conservator specialising in the currently works at the British Museum study at the University (Institute of She is an archaeologist graduated deterioration and treatment of glass as a scientist, specialising in the Chemical Technology Prague) and from the History Faculty of M.V. and enamel. analysis of vitreous materials. He graduated with the diploma thesis Lomonosov Moscow State University graduated with a PhD in Archaeology Vitrification of the middle radioactive waste with specialization in Archaeology katerina mavromichali from the University of Nottingham from the Nuclear power plant (1989). Her in 1988. She received her Ph.D. in 2011. The title of his doctoral post-graduate studies were oriented in Archaeology from the M.V. Archaeologist-museologist, completed thesis was The chemical and isotopic to biomaterials: Interaction of glass- Lomonosov Moscow State University her graduate and postgraduate studies analysis of English forest glass. Since ceramics with Simulated Body Fluids (1993). in 1996. From 1997 she works as an (BA, MA, PhD) at the Department starting at the British Museum From 2005 she has been concerned assistant professor at the Department of History and Archaeology of in 2009 he has worked on, and with archaeological glasses research of Conservation of the Russian Aristotle University of Thessaloniki, published, archaeometric studies of (stained glass, potassium Bohemian State University for the Humanities with specialization in Classical glasses from various time periods and glass, glass mosaics tesserae, etc.). She is (Moscow), where she teaches courses Archaeology; she also holds a master’s provenances. He is a board member Assistant Professor in the Department on the history of glass, ceramics and degree in Cultural and Creative of the Association for the History of of Glass and Ceramics of the Institute enamel, scientific methods of studying Industries, from King’s College Glass and co-editor of their biannual of Chemical Technology, Prague. She glass, glass and enamel technology, London University. She has worked in publication Glass News. also teaches practical conservation ceramics, glass and enamel storage departments of Prehistoric, Classical and restoration of historical glasses. conditions for museum displays and and Byzantine antiquities, as well as at giulia musso storage facilities. From 2012 she the State Museum of Contemporary bettina schneider works as a research fellow in the Art in Thessaloniki, as Head of the is an art historian. She graduated Institute of Archaeology, Russian Department of Research, Education in History of Art and Heritage For more than 25 years she has Academy of Science (Moscow). She is and Conferences. Detached from Development at the University of been working with glass in various a member of European Association of the SMCA, her current position Genoa in 2009, with a final discussion disciplines and combines academic Archaeologists (EAA) from 1996 and is at the Archaeological Museum on «The production of the SAV knowledge with well founded the Russian Association of Historians of Thessaloniki, supporting the in Altare between tradition and craftsmanship (certificate of of Glass (ROISt) from 2011. exhibition and communication innovation». apprenticeship). Her research work has a special focus on the history, technology one of the world’s most important Fine Arts during the 2002 Winter also a patron of museums in England and chemical composition of glass, collections of Venetian glass from Olympics). In 2007, she co-curated (V&A and The Wallace Collection); a ancient, medieval and post-medieval. the Felix Slade Bequest of 1868, the exhibition, «Reflecting Antiquity», member of The Friends of the German She published the results of her and the Waddesdon Bequest. From with David Whitehouse, which was Cultural Foundation and The Green research in numerous publications her first book, The Scholar in His shown both at the Getty Villa and Vaults, Dresden. He is a fellow of the (more than 60). Currently she Study [New Haven and London The Corning Museum of Glass. Corning Museum of Glass and The is involved in a research project 1997], through Objects of Virtue Wight now serves as both executive Ennion Society. «Necropolis of Some Russian Grand [co-written with Luke Syson] British director of The Corning Museum of Princesses and Tsarinas of the Museum 2009, she has included Glass and as curator of ancient and Ascension Convent in the Moscow research on Venetian glass in its wider Islamic glass. She is responsible for Kremlin». She is studying glass intellectual and artistic context. She overseeing the Museum’s extensive vessels found in burials from 16th- selected and catalogued Venetian collections, the Rakow Research 17th Century used as vessels for the glass for the exhibition «Art and Library, The Studio, publications, last rites. Part of these vessels may be Love in Renaissance Italy» at the education programs, and conservation attributed to Venetian production or Metropolitan Museum of Art in 2008, and scientific research. «façon de Venise». and published an article in Glass Studies on a single enamelled dish rainer zietz kinga tarcsay from the British Museum’s collection in 2009. She is now writing a book on after studying History of Art at Glass studies have been at the centre the Waddesdon Bequest which will Heidelberg University, he started his of her work since reading archaeology include new research on the important own business in 1969 in Hannover, at the University of Vienna. She has glasses in the collection. Germany and has been based in concentrated on Roman, medieval and London since 1980. As an art dealer post-medieval glass finds from Austria karol b. wight and adviser, he worked from the and communicated the results of her beginning with specialised collectors research in numerous publications, She became executive director of The and museums in the field of European lectures, exhibitions and university Corning Museum of Glass in 2011, Decorative Arts and Sculpture. courses. An important part of her after 26 years at the J. Paul Getty Amongst work in other fields, he research is the production of glass, Museum. Before joining the Corning particularly focused on Ancient i.e. research into glassworks; among Museum she was senior curator of and Modern Venetian Glass and other things, she is the author of a antiquities at the Getty Villa. A Italian Renaissance Maiolica. His comprehensive publication about specialist in ancient glass, Wight contributions led to the forming of the glass production sites from the received her Ph.D. in Art History some of the most prestigious private 16th-17th Centuries in the lordship of from the University of California, collections and their publication Reichenau, published in 2009. Los Angeles. She has curated (Biemann Coll., Zurich, Hockemeyer numerous exhibitions on ancient art Coll., Bremen, Kuckei Coll., Berlin, dora thornton and glass, including «Molten Color: Steinberg Coll., Vaduz). Acquisitions Glassmaking in Antiquity» (Getty from Rainer Zietz are represented in Curator of Renaissance Europe at the Villa), «Athletes in Antiquity: Works many of the world’s leading museums. British Museum, and the collections from the Collection of the J. Paul He is a member of the British for which she is responsible include Getty Museum» (Utah Museum of Antiques Dealers’ Association. He is venerdì 1 marzo 2013 programma del concerto chiusura delle giornate di studio sul vetro veneziano 2013 palazzo franchetti - istituto veneto di scienze, lettere ed arti ore 18 gian antonio danieli johann sebastian bach – antonio vivaldi Presidente dell’Istituto Veneto di Scienze, Lettere ed Arti concerto n. 1 in re magg. BWV 972, trascrizione da L’Estro Armonico Op. 3. N.9 di A. Vivaldi (allegro - larghetto - allegro) gabriella belli cembalo Andrea Zepponi Direttore della Fondazione Musei Civici Veneziani georg friedrich haendel saluto delle autorità cantata : Mi palpita il cor per alto, flauto e bc. contraltista Angelo Bonazzoli - flauto Antonio Martino - rosa barovier mentasti cembalo Andrea Zepponi Relazione sui lavori presentati benedetto marcello saluto a nome dei partecipanti sonata per flauto e bc n 1 in fa magg. dall’Op. 2 (adagio - allegro - largo - allegro vivo) reino liefkes flauto Antonio Martino - cembalo Andrea Zepponi Senior Curator and Head of Ceramics & Glass at the V&A Museum, London antonio vivaldi sonata per flauto e bc n 2 in do magg dall’Op. 13, RV 59 karol b. wight Il Pastor Fido Executive director of the Corning Museum of Glass flauto Antonio Martino - cembalo Andrea Zepponi

concerto riccardo broschi dall’opera Idaspe, aria di Dario: Ombra fedele per alto contraltista Angelo Bonazzoli - cembalo Andrea Zepponi

baldassare galuppi sonata in mi bem. magg. (cantabile - allegro moderato - allegro) cembalo Andrea Zepponi

antonio vivaldi dall’opera Orlando furioso, aria di Medoro: Sol da te mio dolce amore per alto, flauto e bc contraltista Angelo Bonazzoli - flauto Antonio Martino - cembalo Andrea Zepponi The Istituto Veneto and Glass

The sequence of events exchanges of information and experience, making this event one of the most important of its kind held on an international level. Already in the 19th Century a great many Murano glassworks, with their capacity Last, in 2012 the Glass in Venice Prize was created, awarded by the Istituto Veneto to innovate processing techniques, won the Industry Prizes the Istituto Veneto and the Musei Civici Veneziani in recognition of the glass artists and masters par- awarded to the leading manufacturers in the Veneto. ticularly outstanding for their work in the great Murano tradition, or else, all over Glass came back to the fore in 2004 when the Istituto Veneto opened its new the world, through different techniques and schools. The first Prize was awarded premises in Palazzo Franchetti with the great exhibition “Vetri. Nel mondo. on 22 November 2012 to the master Pino Signoretto and the artist Bertil Vallien. Oggi” (Glass in the World. Today): a vast survey of art glass from all over the world with works by contemporary artists from Murano, America, Australia, Belgium, Bohemia, Finland, France, Germany, the Netherlands, Sweden. The Glass in Venice Prize In 2010 for the first time the Istituto opened the new ground floor rooms of Palazzo Loredan with the exhibition “Galanterie di Vetro” (Glass Galanteries). The first edition of theGlass in Venice Prize was awarded on 22 November 2012 The Murano glass revival in the De Boos-Smith collection: 250 exquisite items, by the Istituto Veneto di Scienze, Lettere ed Arti to the Muranese master Pino selected and arranged according to the different glass techniques attesting the Signoretto, whose expertise and technical refinement are renowned worldwide, ancient 19th Century ‘working process’ at Murano. and Bertil Vallien, the Swedish artist whose glass works are shown in the leading In 2011 the Istituto held a solo show in Palazzo Franchetti dedicated to the great international contemporary art museums and presently on exhibit at Palazzo artist Lino Tagliapietra: a large selection of one-offs of the past ten years inclu- Franchetti, the institution venue. ding several impressive installations. In 2012 the Istituto presented the exhibition The Fondazione Musei Civici di Venezia shared in awarding the Prize. “Miniature di vetro” (Glass Miniatures) in Palazzo Loredan. Art bonbonnières: The Prize is a highly regarded tribute awarded to the glass artists or masters who 400 small glass articles from private collections revealing great artists’ technical outstandingly distinguished themselves with their work proceeding in the wake prowess in the art of glass. In Palazzo Franchetti from September to November of the Muranese tradition or else, abroad, in different schools and techniques. 2012 the Bertil Vallien exhibition: “Nine Rooms” produced and organised by With this event we wish to show that Venice, thanks to Murano, is not only the Berengo Studio displayed to the Venetian public sixty glass works crafted by the famed and noble centre of a refined art and a prodigious glass technique which Swedish master during his career in the Swedish Kosta Boda studios. still lives in the work of outstanding masters and artists, but is also the city regar- ded with admiration and respect by many internationally acclaimed masters, even The Istituto Veneto is one of the partners of Glasstress, presented at Palazzo Fran- if their own works are executed in techniques other than Muranese. chetti in 2009 and 2011 by Berengo Studio during the International Art Exhibi- The personal experiences of many world-famous artists and important contem- tion of the Venice Biennale. 2013 schedules the third edition of this outstanding porary art exhibitions held in the greatest capitals attest that the glass art world, art exhibition which explores developments in international design with sculptu- infinitely variegated and different in its multiple forms and techniques, considers res and installations specially created by leading international artists and desi- Venice and Murano an indispensable point of reference, a prestigious and chal- gners vying with their use of glass. lenging presence to confront and with which they can vie, even experimenting As a commentary on the various exhibitions the Istituto Veneto organised for with the most specific and intrinsic techniques of the Muranese tradition. the general public many occasions for reflection, with lectures and conversations The Prize, awarded every year, is an essential part of Glass in Venice, the project with the artists by scholars and collectors. arisen from the collaboration between the Istituto Veneto and the Fondazione In 2012 the Istituto Veneto introduced and organised Study Days on Venetian Musei Civici di Venezia. Glass to gather each year scholars of Venetian glass but also glass of the most varied traditions: an occasion for further discussion and encounters, with broad The Website

In the ambit of the Glass in Venice Project a website devoted to Venetian glass is The site is organised in several sections, enriched with material produced in the forthcoming. course of the activities of the Istituto and the Murano Glass Museum, as well as The website intends to become an authoritative hub of documentation on Vene- texts, documents, interviews, announcements of exhibitions and events the world tian glass and glass art production worldwide: a functional, accessible, updated over. In addition a section will be created featuring the curriculums of glass artists tool available to the broadest international public. from all over the world and recordings of the courses and lessons held by specia- To achieve our project we formed alliances and partnerships with museums, lists during the Venetian Glass Study Days. research centres, industries and businesses reputed for their commitment to the The contents of the site are supervised by a scientific committee whose members promotion of glass. are: Rosa Barovier, Sandro Pezzoli, Chiara Squarcina, Lino Tagliapietra, Cristina Tonini, Marco Verità. glass venicein

Reliquary from the Church of San Martino in Burano-Venice, now exhibited in the Glass Museum Fondazione Musei Civici Venezia, Inv. Class VI, nr. 1124 Istituto Veneto di Scienze, Lettere ed Arti San Marco 2945 30124 Venezia tel +39 0412407711 fax +39 0415210598 [email protected] www.istitutoveneto.it