collettivo culturale tuttomondo Napoleone Martinuzzi
Napoleone Martinuzzi (Murano, 1892 – Venezia, 1977) è stato uno scultore, artista, imprenditore del vetro italiano.
Figlio di Giovanni e Amalia Fuga, entrambi membri di famiglie di maestri vetrai, studia musica, scultura, ceramica ed oreficeria all’Accademia di Venezia e di Roma. Prediletto da Gabriele D’Annunzio, eseguì per il Vate diverse opere a partire dal 1917 e progettò anche un Mausoleo, mai realizzato. Dal 1922 al 1931 diresse il Museo del vetro di Murano … continua a leggere su Wikipedia
Nel 1925 Napoleone Martinuzzi, artista particolarmente apprezzato da Gabriele d’Annunzio, entro’ in società con Paolo Venini e assunse la direzione artistica della vetreria V.S.M. Venini & C., per la quale creo’ manufatti straordinari fino al 1931.
A lui si deve l’invenzione di un nuovo vetro opaco e spesso, “pulegoso”, cioè caratterizzato dall’inclusione di innumerevoli bollicine d’aria (puleghe) con cui realizza originali oggetti di singolare corposità.
Napoleone Martinuzzi (1892–1977) is one of Italy’s most influential Novecento sculptors.
Born on Murano in 1892, Napoleone Martinuzzi was the son of an accomplished glass blower. He attended the Belle Arti in Venice and was part of the Ca’ Pezzaro Secessionist group where, in 1908, he began to exhibit his sculptures. Over the next decade Martinuzzi exhibited widely in Europe, eventually becoming one of Italy’s most influential Novecento sculptors.
In 1921 he became Director of the Murano Museum and in 1925, the Artistic Director at Venini. Martinuzzi’s bold use of experimental, semi-opaque glass (Pulegoso, Lattimo, Calcedonio) brought a new sculptural materialism to Murano. His use of large-scale forms from classical antiquity executed in vibrant colors set a new standard for Murano glass design.
In 1932 Martinuzzi left Venini to found his own firm, Zecchin-Martinuzzi. While the company only lasted for a few years, its highly refined production had a profound influence on Murano glass for decades to come. Between 1937 and 1947 Martinuzzi once again dedicated himself to sculpture. During the post-war period he returned to glass design and did notable works for several companies including Alberto Seguso’s Arte Vetro, Vetreria Cenedese, Alfredo Barbini and Pauly & C.
But the simple facts of Martinuzzi’s life fail to capture the lasting power of his work—his name alone evokes images of remote elegance and archetypal glory. A lasting tribute to this haute-grandeur can still be seen at the Vittoriale—poet Gabriele D’Annunzio’s lavish home and mausoleum where many of Martinuzzi’s formidable sculptures and monumental glass vessels still reside.
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opera: Napoleone Martinuzzi, Acquario in vetro trasparente fumé contenente un ramo fiorito in vetro opaco, per V.S.M. Venini & C, 1930 ca.
