Archimede seguso glass fenice fire collection
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NOTEBOOK 10
The “La Fenice” theater, the interior in detail. The inauguration evening of the theatrical season On the right of the royal box, in the front box, Archimede and Emanuela Seguso are seated.
PRESENTATION
THOSE VALUES
The motivations that give rise to a work of art can be many and varied, a wedding or a war, love or tragedy, prayer or protest. This was the case for Tiziano and for Goya, for Renoir and Picasso. So too, it can happen today: as indeed it happened for Archimede Seguso, this century’s greatest master glassmaker, having reached a point of vital achievement at 86 years of age. A shocking occurrence – the destruction by fire of the Fenice – touched him directly: indeed he experienced the drama of the whole city from close up as his home is situated only a few metres from the theatre. The hours of nightmare endured on the night of January 29th this year have been transformed into fragments of beauty: a series of vases that Archimede wished to name after the Fenice. Impressions, tongues of flames, densifying smoke, dazzling lights: but also an emotion which is renewed, that stays alive. We believe that art – true art – must be like this. Not coldly planned or mere intellectual Utopias, nor distillations of aesthetic principles: but rather the stren
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Vases | by Archimede Seguso
Born in Murano, Italy, Archimede Seguso is revered as one of history’s finest Venetian glassblowers, known particularly for the intricate vases, necklaces, sculptures , and much sought-after chandeliers that he produced for his eponymous firm, Vetreria Archimede Seguso (est. ).
Typical to the narratives that color Murano’s glassmaking community (see Barovier & Toso), Seguso hails from an uninterrupted lineage of glassmakers that reaches back nearly six centuries. In his late teens, he apprenticed at La Vetreria Artistica Barovier, where—working alongside the likes of Vittorio Zecchin and Flavio Poli—he cultivated a maestro’s sensibility for the practice that would later inform nuanced explorations into revising ancient Murano techniques (what would become his glassworks' signature). To that end, into the s, Seguso contributed to Poli’s sculptured Sommerso (or submerged) output, helping devise the complex technique behind the hand-blown craft in which transparent glass of varying colors and textures were laid, to striking vibrancy, atop each other. The series, Poli’s most renowned, garnered heaps of subsequent awards, including the Compasso d’Oro prize in
Seguso’s transition