Transcending Time  a Survey of Works in Glass by Italian Maestro
Lino Tagliapietra
Bergstrom-Mahler Museum of Glass
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Transcending Time  a Survey of Works in Glass by Italian Maestro
Lino Tagliapietra October 8, 2015 - February 14, 2016 ABOUT THIS EXHIBIT
Bergstrom-Mahler Museum of Glass is a glass museum situated in Neenah, Wisconsin, with a world renowned collection that started from a paperweight aesthetic built on ancient techniques of millefiori and flame work; a glass drinking vessel collection of the Germanic regions of Europe which can also trace their origin and traditions to Venetian glass making. In keeping with the spirit of its inception, the museum has a growing curiosity about glass as a creative material and an expanding collection of contemporary glass. It is this continuity of artistry, process and alchemy in contemporary form that is fascinating to share with our audiences by hosting this exhibition of works by Lino Tagliapietra, who embodies this spirit so well. This exhibition is made possible by the generous support from The Fox Cities Convention and Visitors Bureau, Bel Gioioso Cheese, Inc., The Art Alliance for Contemporary Glass, and The Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. Special thanks are extended to Jim Schantz and Kim Saul, as well as Jacopo Vecchiato and Lino Tagliapietra for their assistance in organizing this exhibition. Finally, thanks to Bonnie Marx, whose devoted assistance in coordinating private loans added much to the scope of representation.
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Chiocciola, 2008 16.25 x 18.75 x 7.5” 4
Transcending Time  a Survey of Works in Glass by Italian Maestro
Lino Tagliapietra
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photo: Russell Johnson
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Transcending Time:
A Survey of Works in Glass by Italian Maestro Lino Tagliapietra Transcending Time offers a glimpse, if only in a very recent moment, at a transitory passage of the creative spirit. The works in this exhibition represent the spontaneous ingenuity that has embodied Lino’s work for decades. As a Maestro, he is one with the material and the results are a collaboration, not just with the team, but with the glass itself as he coaxes and cajoles it into a new form, as if it were a living thing. Fluid, organic and dynamic works in motion, art in motion, which exploits the mysterious nature of glass: changing, transformative. Although I have not had the privilege of watching Lino work in the studio, I have seen the remarkable results. Logically, I understand the process, I have seen the techniques demonstrated and I have watched enough videos to understand, yet, the works seem to defy the logic of the process. Oblivious to the camera, there is a quiet sense of knowing that informs his methods. He is focused on the creation, a focus that emits a grace and choreography so intuitive, yet calculatedly smooth, there can be no failure. He and the material work together to form nothing that is less than inspired. There is no complacency. Watching Lino, even on video, demonstrates a concentration and urgency driven by the needs of the molten glass itself, but shaped also, by the passion he has for it. There is an immediacy in his creative process, anticipation and alertness, as well as excitement about giving way to chance. As he explores a particular series, he may plan a work in advance, and influence the outcome with incredible dexterity, the results appear as a choreographed combination of planning, preparation, design and perhaps controlled gamble. He always wins. The realization that the techniques and methods Lino repeats with such finesse are ancient, compounds the mystery. They were used in Syria, Alexandria and Rome, and by the 14th century were guarded secrets that gave rise to a powerful Venetian glass industry. Yet, Lino’s drive, curiosity and enthusiasm keep the work and his ideas fresh. His years of masterful experience, mingled with the carefree daring of the American Studio Glass Movement, have placed value on risk for the pure sake of exploration and the thrill of a new result. His insatiable interest in art, cultures and stylistic change inspire new forms and surfaces. Such inspiration is very apparent in his Fuji series and Kookaburra, taking shape from the countries their names suggest. The exquisitely planned fused panels are murrine, referencing the ancient Syrian method brought forward in a larger scale and a painterly sense that evokes an Abstract Expressionist influence. Lino is a conduit from the past to the future.
Lino Tagliapietra at work in Mukilteo, WA, 2011
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There are forms that are lyrical and playful such as the Fenice series. These pieces reflect the fluidity of glass in almost a stop action segment, capturing the motion of hot glass in a cooled state. Like charming a snake, these sculptural forms are lasting evidence of Lino’s control over the material. Ala and Endeavor are forms that defy gravity and their aerial shapes nearly take flight. While the Classic forms of Borneo and Medusa are weighted in shape, paying homage to the vessel form, yet denying that function. These works often become more ethereal by color, light and deftly mastered cutting called battuto. This remarkable agility and ease of movement from one form to another with grace and facility is what the Maestro does. He has long since earned this right to experiment, because his well orchestrated years of experience confidently and gracefully affirm that he can determine the outcome. The body of work selected for this exhibition represents recent ideas, travels and explorations that summarize a lifetime of achievement. Although Lino’s techniques remain true to his Muranese heritage, the works transcend a world view, taking not only names from this travels, but the collaborations and the inspiration that come from sharing cultures and traditions. This welcomed absorption of a world spirit which coalesces into new forms has graciously endeared the artist to so many art enthusiasts worldwide. Lino’s insatiable curiosity and ability to blend a world view with tradition while embracing new genres with great generosity and creativity are characteristics that keep the work fresh and vibrant. I am excited and humbled to introduce this untethered creative spirit in this exquisite exhibition Transcending Time: A Survey of Glass Art of the Maestro Lino Tagliapietra. Bergstrom-Mahler Museum of Glass is grateful to share this continuum of Italian glass tradition that truly Transcends Time. Jan Mirenda Smith Executive Director Bergstrom-Mahler Museum Bergstrom-Mahler Museum of Glass is honored to present the work of the Maestro Lino Tagliapietra organized with the assistance of Jim Schantz and Kim Saul of Schantz Galleries and Jacopo Vecchiato, Lino’s grandson and Executive Manager of Lino Tagliapietra, Inc. Work has also been graciously lent from private collections with the assistance of Bonnie Marx and Ken Saunders.
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The Work “I know exactly what my style is, but it is impossible to explain my style; maybe figurative with a different perspective... a type of Impressionism with Venetian technique. But even more than Venetian, it’s an ancient technique.” Lino Tagliapietra
Concerto Primavera, 2000
82.5 x 96 x 22” Installation of 17 blown glass vessels on a glass topped metal table, also designed by Lino Tagliapietra.
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Foemina, 1997
23.5 x 9.5 x 6.25� Collection of Paul and Margaret Lurie 5
Madras, 1999
17.75 x 13 x 5.5� Collection of Kineret Jaffe and Morton Silverman
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Bilbao, 2001 17.5 x 13.75 x 7.5”
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Bilbao, 2002
17.25 x 13.25 x 4.75� Collection of Jane Humzy and Peter Debreceny
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Bilbao, 2003
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30.5 x 11 x 8.25� Collection of Dr. Richard and Ellen Katz
Angel Tear, 2004 54.75 x 13.5 x 6.5"
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Pietraluna, 2006 13 x 17 x 6.5�
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Medusa, 2007 18.25 x 17.75 x 6.75�
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Bilbao, 2007 24.5 x 8 x 4.75”
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Kuala, 2007 23 x 12 x 12"
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Mandara, 2008 27 x 14 x 6.75�
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Fenice, 2011 45.5 x 16 x 5�
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Dinosaur 2012 46.5 x 19.5 x 11.25�
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Avventura, 2012
Cabinet measures 9.25 x 38.75 x 5.5�
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Petra, 2012 12 x 17.5 x 4.5�
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Osaka, 2012
20 x 12 x 12.25� Collection of Bonita Marx
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Africa, 2013
11.25 x 18.25 x 18.25” 23
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Kookaburra, 2013 36.5 x 11.75 x 11.75�
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Kookaburra, 2013 29.75 x 11.5 x 11.25”
Kookaburra, 2013 32.5 x 10.75 x 10.75”
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Stella di Neve, 2013 Fused glass panel 18.75 x 18.75 x 1.5�
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Fuji, 2013 25.75 x 15 x 7.5”
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Tenda de Piacere, 2013 Fused glass panel, 43.75 x 23.25 x 1" 29
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Niomea, 2013 31
25 x 15.75 x 7.5”
Fuji, 2014
36.25 x 17.25 x 7.5”
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Ombelico del Mondo, 2015 14.5 x 14.5 x 5.25" 33
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Medusa, 2015 35
17.5 x 17.25 x 7.25�
Angel Tear, 2015 30 x 22.75 x 8.5”
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Museums and Collections
photo: Sabine Von Falken
CHINA: Shanghai Museum of Glass, Shanghai · DENMARK: Glasmuseum, Ebeltoft · FRANCE: Musee des Arts Decoratifs, Paris · GERMANY: Kestner Museum, Hannover · ITALY Aperto Vetro, Venice · Biennale di Venezia · Palazzo Franchetti, Venice · Palazzo Grassi, Venice · JAPAN: Hokkaido Museum of Modern Art, Sapporo · Kitazawa Museum of Arts, Takane-cho · Tokyo National Modern Art Museum, Tokyo · Toyama City Institute of Glass, Toyama · MEXICO: Museo del Vidrio, Monterrey · THE NETHERLANDS: Danish Royal Museum, Copenhagen · Museum Boijmans, Rotterdam · Museum Het Paleis, The Haag · SWITZERLAND: Musee des Arts Decoratifs, Losanna UNITED KINGDOM: Victoria and Albert Museum, London UNITED STATES: Bellevue Art Museum, Bellevue, WA · Bergstrom Mahler Museum of Glass, Neenah, WI · Carnegie Museum of Art, Pittsburgh, PA · Chrysler Museum of Art, Norfolk, VA · Colby College Museum · Columbia Museum, Columbia, OH · Columbus Museum of Art, Columbus, OH · Corning Museum of Glass, Corning, NY · Dayton Art Institute, Dayton, OH · Detroit Institute of Arts, Detroit, MI · Fuller Craft Museum, Brockton, MA · Hunter Art Museum, Chattanooga, TN · The Jewish Museum, San Francisco, CA · M.H. de Young Memorial Museum, San Francisco, CA · Marianna Kistler Beach Museum of Art, New York, NY · Mary and Leigh Block Museum of Art, Chicago, OH · The Metropolitan Museum of Art, New York, NY · Mint Museum of Craft and Design, Charlotte, NC · Montgomery Museum of Fine Arts, Montgomery, AL · Museum of Art, Washington State University, Pullman, WA · Museum of Arts and Design, New York, NY · Museum of Fine Arts, Houston, TX · Museum of Glass, Tacoma, WA · National Museum of Ceramic Art and Glass, Baltimore, MD · Norton Museum of Art, West Palm Beach, FL · Orlando Museum, Orlando, FL · Palm Springs Art Museum, Palm Springs, CA · Racine Art Museum, Racine, WI · Renwick Gallery of the Smithsonian American Art Museum, DC · Scottsdale Museum of Contemporary Art, Scottsdale, AZ · Seattle Art Museum, Seattle, WA · Spencer Museum of Art, University of Kansas, Lawrence, KS · Stanford University, Palo Alto, CA · Toledo Museum of Art, Toledo, OH ·
Awards and Recognitions 1968-76 1968 1972 1996 1996 1996/98 1997 1997 1998
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Cofounder and chief maestro at La Murrina, Murano, Italy Borsella d’Oro Award, Murano, Italy Grand Prix in lighting, Barcelona Trade Fair, Barcelona, Spain Rakow Commission for Excellence in Glass Award, Corning Museum of Glass, NY UrbanGlass Award for Preservation of Glassblowing Techniques, NY Venezia Aperto Vetro, Guest of Honour, invited guest, Venice, Italy Glass Art Society Lifetime Achievement Award Urkunde Goldmedaille, Germany Libensky Award, Chateau Ste Michelle Vineyards and Winery and Pilchuck Glass School, WA
London, 2015 15.75 x 22.5 x 13.75�
2000 2001 2004 2004 2004 2004 2006 2007 2007 2009 2010 2011 2011 2012 2013
Humana Distinguished Professor, Centre College, KY Metal for Excellence in Craft Award, The Society of Arts and Crafts, Boston, MA Honorary Doctor of Humane Letters, Centre College, KY The President’s Distinguished Artist Award, University of The Arts, Philadelphia, PA Artist as Hero Award, National Liberty Museum, Philadelphia, PA Artist Visionaries! Lifetime Achievement Award, Museum of Arts & Design, NY Distinguished Educator Award, James Renwick Alliance associated with the Renwick Gallery of the Smithsonian American Art Museum, Washington, DC Cristal Award, Museo del Vidrio, Monterrey, Mexico Foreign Honorary Member, American Academy of Arts and Sciences, Cambridge, MA The IIC Lifetime Achievement Award, Istituto Italiano di Cultura, Los Angeles, CA Master Teacher/Master Artist, Hite Art Institute, University of Louisville, KY Master of Medium Award, James Renwick Alliance, Washington, DC Honorary Degree, Doctor of Fine Arts, Ohio State University, Columbus, OH Phoenix Award, USA Visionary Award, Art Palm Beach, FL Honors Award, Art Alliance for Contemporary Glass, USA
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Beginning in the mid 1940’s until 1989, Maestro Lino Tagliapietra worked in various for-profit Murano factories including Vetreria Galliano Ferro, Venini & Co., and finally as the Artistic and Technical Director of Effetre International (1976-1989). In the summer of 1979, Lino was invited to the Pilchuck Glass School in Stanwood, Washington. From this point on, glassblowing would undergo a profound transformation. Tagliapietra generously shared what he knew with artists in the United States and subsequently throughout the world, because Lino believed that if glassmaking at its highest level was to survive, it must expand beyond the island of Murano. During his more than 30 years of international teaching, he has instilled a demand for excellence, a strong work ethic, and a love of the medium that has changed and elevated the glass art movement forever. Defying criticism from the community back home, Tagliapietra has never stopped sharing his knowledge. But the giving was not a one-way street; Tagliapietra benefited equally from the young artists that he taught and with whom he collaborated. After years of factory production work, Tagliapietra came face-toface with new ways of regarding the material and with individuals who considered it a medium for art. They were blowing glass for the sheer joy and challenge of it. This creative exchange with artists throughout the world expanded Lino’s ideas for what can be accomplished with the medium of glass. We see in Lino‘s work the highest level of skill and mastery of material and a personal quest for new discoveries. Tagliapietra’s career is defined by dedication to workmanship and innovation. At the age of 81, Lino continues to challenge himself by finding the next exciting or sublime form of expression and creativity. His latest works which we saw him make at the Museum of Glass in February (2015) were some of the most powerful works I have seen in blown glass. I would put these works in the category of the joyful works of Matisse, or Monet’s Water Lilies, with the power of presence of a Tang Dynasty figurine. In other words, Lino’s work has a presence which references yet transcends time. We are so fortunate in our lifetime to witness a maestro and artist in one, who through his openness to life and humanity is able to transform silica into miraculous works of art. Schantz Galleries is proud to cooperate with the Bergstrom-Mahler Museum of Glass to bring this exhibition to a museum that has defined itself as one of the top glass museums in the U.S. We wish to thank Jan Mirenda Smith for inviting us to participate in this project. Jim Schantz September, 2015
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CREDITS: Sponsors: Fox Cities Convention and Visitors Bureau Bel Gioioso Cheese, Inc. Liberty Hall Art Alliance for Contemporary Glass Wisconsin Arts Board Special Thanks to: Lino Tagliapietra, Inc. Schantz Galleries Contemporary Glass Photography: Russell Johnson Other photos as indicted Silver City Studio Design+Publishing Stockbridge, MA Transcending Time: A Survey of Works in Glass by Italian Maestro Lino Tagliapietra Š 2015 Created for an exhibition at the Bergstrom-Mahler Museum of Glass Neenah, WI
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transcending time a Survey of Works in Glass by Italian Maestro Lino Tagliapietra
Gondola, 2015 85 3/4 x 7 1/2 x 9 1/2
Gondola, 2015 9.5 x 7.5 x 85.75�
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