Chefs-d’oeuvre de légèreté et de grâce

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Campo DC	Valore
dc.identifier	ECF_article_1250
dc.title	Chefs-d’oeuvre de légèreté et de grâce. Il vetro di Murano alle Esposizioni Universali di Parigi
dc.contributor.author	Beltrami Cristina
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing
dc.type	Articolo
dc.language.iso	it
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/riviste/mdccc-1800/2017/1numero-monografico/chefs-doeuvre-de-legerete-et-de-grace/
dc.description.abstract	This article analyses the inclusion of Venetian glass pieces and mosaics at four Universal Exhibitions in Paris from 1867 – the first year in which Italy could be represented as a unified country – till 1900, when the annual event inaugurated a new century and a completely different art system. The widening of an international market was the main impulse behind the revival of the Murano tradition and the rebirth of its economy, which had been in crisis in the first half of the 19th century. The main players in this relaunch were Antonio Salviati – at first with a company with his own name and, after 1878, as Compagnia di Venezia e Murano – Pietro Bigaglia and other smaller, less prominent foundries. All were equally active in the production of glass pieces imitating Renaissance pieces, mirrors and mosaics.
dc.relation.ispartof	MDCCC 1800
dc.relation.ispartof	Vol. 6 \| Luglio 2017
dc.issued	2017-07-31
dc.dateAccepted	2017-05-02
dc.dateSubmitted	2017-02-15
dc.identifier.issn
dc.identifier.eissn	2280-8841
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.14277/2280-8841/MDCCC-6-17-2
dc.peer-review	yes
dc.subject	Antonio Salviati
dc.subject	Antonio Salviati
dc.subject	Expositions Universelles
dc.subject	Expositions Universelles
dc.subject	Glasswork
dc.subject	Glasswork
dc.subject	Mosaic
dc.subject	Mosaic
dc.subject	Murano
dc.subject	Murano
dc.subject	Paris
dc.subject	Paris

Articolo
open access peer reviewed

Il vetro di Murano alle Esposizioni Universali di Parigi

Cristina Beltrami Ricercatore indipendente

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abstract

This article analyses the inclusion of Venetian glass pieces and mosaics at four Universal Exhibitions in Paris from 1867 – the first year in which Italy could be represented as a unified country – till 1900, when the annual event inaugurated a new century and a completely different art system. The widening of an international market was the main impulse behind the revival of the Murano tradition and the rebirth of its economy, which had been in crisis in the first half of the 19th century. The main players in this relaunch were Antonio Salviati – at first with a company with his own name and, after 1878, as Compagnia di Venezia e Murano – Pietro Bigaglia and other smaller, less prominent foundries. All were equally active in the production of glass pieces imitating Renaissance pieces, mirrors and mosaics.

Pubblicato

31 Luglio 2017

Accettato

02 Maggio 2017

Presentato

15 Febbraio 2017

Lingua

Keywords: Mosaic • Murano • Antonio Salviati • Expositions Universelles • Paris • Glasswork

permalink http://doi.org/10.14277/2280-8841/MDCCC-6-17-2

Copyright: © 2017 Cristina Beltrami. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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