The second chapter of the exhibition dedicated to the presence of Murano glass at the Venice Biennale focuses on the period between 1932 and 1942, marking the inauguration of the Venice Pavilion and the final Biennale edition before the forced hiatus caused by World War II.
Starting in 1932, Murano glass was showcased at the Biennale in a space specifically created for the decorative arts, an initiative led by the Istituto Veneto per il Lavoro. This official recognition highlighted the quality and prestige of the so-called minor arts, with works carefully selected to be presented to the public.
With the Biennale’s continuous renewal, Murano glassmakers had the opportunity to present the finest examples of their production, drawing inspiration from a context rich in artistic energy and international influence. The Biennale served not only as a privileged showcase but also as an occasion for dialogue and exchange within the artistic glass community.
Among the standout glassmakers were Venini, which collaborated with Carlo Scarpa, and Barovier Seguso Ferro (later Seguso Vetri d’Arte), featuring Flavio Poli. Dino Martens, on the other hand, worked first with Salviati and Successori Rioda and later with Aureliano Toso. Other prominent names of the time included AVEM, the historic Barovier furnace, Cirillo Maschio, Ulderico Moretti, S.A.I.A.R. Ferro Toso, Fratelli Toso, VAMSA, and S.A.L.I.R., all showcasing the exceptional potential of Murano glass.
The exhibition 1932-1942: Murano Glass and the Venice Biennale, accompanied by a catalog curated by Marino Barovier and Carla Sonego, presents a selection of objects displayed during those editions, enriched by period documents and archival materials
