dalle mani del maestro "from the hands of the maestro"

102
Dalle Mani del Maestro LINO AGLIAPIETRA

Upload: schantz-galleries

Post on 20-Mar-2016

221 views

Category:

Documents


2 download

DESCRIPTION

the Art of Lino Tagliapietra

TRANSCRIPT

Page 1: Dalle Mani del Maestro "From the Hands of the Maestro"

Dalle Mani delMaestro

L I N O agliapietra

Page 2: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 3: Dalle Mani del Maestro "From the Hands of the Maestro"

lino tagliapietra

Page 4: Dalle Mani del Maestro "From the Hands of the Maestro"

Dalle Mani del Maestrolino tagliapietra

© 2011 Schantz galleriesStockbridge, Massachusettstel | 413 298 3044www.schantzgalleries.com

all artwork images © lino tagliapietra, inc.

Design by Kim Saulartwork photography by russell JohnsonWorking photos by Kim Saul, elyse Vinitskyeditorial review by Jeanne Kolesprinted by MCrl, ontario

Page 5: Dalle Mani del Maestro "From the Hands of the Maestro"

Dalle Mani delMaestro

L I N O T a g L I a p I e T r a

From the Hands of the Maestro

Page 6: Dalle Mani del Maestro "From the Hands of the Maestro"

“Anybody who has ever seen Lino Tagliapietra at work, will know that he is ... a true master - a unique person

who appears maybe once or twice in a century.”

Finn lynggaard glasmuseet ebeltoft, Denmark

Page 7: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 8: Dalle Mani del Maestro "From the Hands of the Maestro"

Lino Tagliapietra and Jim Schantz examine a fused panel at Pilchuck, Stanwood, WA, 2011

Page 9: Dalle Mani del Maestro "From the Hands of the Maestro"

It is with great pleasure that Schantz Galleries presents the exhibition, Dalle Mani del Maestro, the Art of Lino Tagliapietra and this accompanying catalog of works. For more than 15 years, we have worked with Lino, developed a friendship and feel that it is time to celebrate our relationship with this publication.

With the advent of the 50th anniversary of the birth of the American Studio Glass Movement*, it is fitting that Lino Tagliapietra is to be honored with a major retrospective exhibition at the Museum of Glass in Tacoma, Washington. It is certain that since arriving in 1979 to teach at the Pilchuck Glass School in Stanwood Washington, as well as other schools in the US, France, Japan and Australia, Lino has been a major influence and inspiration to three generations of artists working in glass and has been a leader in defining the Studio Glass Movement. Lino's generosity and creative spirit have transformed the movement through his example of work ethic, innovation and dedication.

Lino's passion for expression and creativity is perhaps at its highest. Lino continues to experiment and push the glass medium in his quest to bring to light new form, pattern and texture. It is the Maestro's unsurpassed technical expertise which affords him the great freedom of expression. Lino has continued his quest for experimentation this past year at the Museum of Glass, Bullseye Glass Factory, Pilchuck School and Massachusetts Institute of Technology. It was at these locations that Lino was able to take his work into uncharted territory and to a new level. Lino's willingness to engage with the glass community, share his enthusiasm and be a strong mentor brings a constant exchange of new energy to his own work. This is best represented by Lino's latest series highlighted in this exhibition catalog. These include the dramatic Osaka, Fuji, Fenice and Venice Series, which all produced during the past year are the result of his ongoing exploration and commitment to his art.

We are honored to present Lino Tagliapietra's incredible range of artistry with this book. It is our humble offering of an insight into his enormous passion for creativity, the intense energy sustained to make his art and the birth of each new form as it evolves from a gather of molten glass at the end of a punty into pulled or twisted cane. Cut into lengths or chopped into murrini, these prime elements are composed into a complex design and then expertly blown or fused into a form - all from the heart, mind, soul and the hands of the Maestro.

Jim Schantz and Kim SaulSchantz Galleries, 2011

* 2012 marks the anniversary of the first experimental glassblowing workshops with Harvey K. Littleton and Dominick Labino at the Toledo Museum of Art.

Page 10: Dalle Mani del Maestro "From the Hands of the Maestro"

Last night, I was thinking...

“At night, strange thoughts come, sometimes bad, sometimes creative. I thought last night, how to answer the question... ‘Where do you get inspiration?’

It is often at night, you wake up and you’re working and you dream or think of doing something different, something a little crazy and definitely new. For example, Kenia is a product of the night, also Osaka, Fuji and Avventura.

To have ideas or inventions at night is easy; what is difficult is to implement them. I can do it if I work in the morning or during the following days. It is most frustrating if I cannot try immediately because the ideas overlap. It’s like putting white sheets of paper one over the other and covering those dreams which are asking to be.

You ask, ‘Why don’t you draw?’

I tried and it does not work for me. I realize I draw while working; I need the raw glass, the color, the fire, to SWEAT. My concentration is in putting together dreams and trying to make them become reality.”

Lino Tagliapietra, 2011

Page 11: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 12: Dalle Mani del Maestro "From the Hands of the Maestro"

a v v e n t u r a , 2011

5.75 x 8 x 5.75”

Page 13: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 14: Dalle Mani del Maestro "From the Hands of the Maestro"

The Hands of the Maestroby James Yood

There are (at the very least!) two reasons why each new exhibition of the work of Lino Tagliapietra is an opportunity for celebration, the first because of who he is, and the second because of what he does. It just has to be acknowledged - there are probably no two words more respected and honored in the history of modern sculpture in glass than ‘Lino Tagliapietra’; he is the living bridge, the crucial link between the august history of Venetian glass (he was even born in Murano and began his career there at the age of 11) and the ceaseless wonders of what we today call the modern Studio Glass movement.

In his 77 years he has seen the context of sculpture in glass shift, from his role as a certified ‘Maestro Vetraio’ (Master of Glass, at age 21) working within the skilled workshop and artisanal traditions of for-profit firms with regular product lines, to the current situation where a sculptor functions as an independent artist in his or her studio. Tagliapietra not only witnessed this, he helped bring it into being, beginning in the 1960s when American artists (Littleton, Chihuly, Lipofsky, etc.) began to find their way to Murano coveting the skills and techniques that only Tagliapietra and

Page 15: Dalle Mani del Maestro "From the Hands of the Maestro"

his colleagues possessed. Tagliapietra shared his knowledge with those artists and more, and beginning in 1979 began to visit the US regularly, leading workshops and classes all over the country, accelerating (I would argue) the technical proficiency of a generation of American artists through his generous transmission of his consummate mastery of Venetian techniques (please feel free to YouTube him to see a master at work). Tagliapietra himself was changed by these encounters too, responding favorably to the independence and ambition and risk-taking spirit of American artists. In 1988, after 42 years of working for Muranese firms and glass factories he became an independent artist.

That’s a nice tale, and a true one, and a month doesn’t go by that some American sculptor who works in glass doesn’t speak to me with awe about the privilege of having watched Tagliapietra work and possibly crewed for him. But this is not just about what Tagliapietra knows and has witnessed, it is about what he does, and continues to do. More than sixty years of working with glass in the finest workshops both in Italy and around the world have given him what are almost singular and unique skills with glass, built upon a thousand-year-old tradition and applied today with great beauty and elegance.

From his work with filigrana into reticello, zanfirico and murrine into incalmo, working with blown or fused glass, the arenas of his inquiry into the possibilities of glass seem literally endless. His recent Fuji and Osaka series, and his new Venice wall panels, each skirt the edges of expressionism in subtly different ways, providing Tagliapietra with a more painterly and inherently risky platform than he has regularly investigated. They are a kind of foil for the consummate elegance he continues to achieve to this day, particularly in the capricious Fenice series, some of which are as close to giddy giggles as anything I’ve seen in any branch of contemporary art.

Exult in the rhythmic sweep of an Angel Tear or a Bilbao or a Dinosaur, see how it plays toward and against the vessel tradition, stretching its limits to a kind of poignancy and grazia. It is the assuredness of his activity that continues to amaze, the sheer pleasure of watching someone, in this case someone who has been a maestro for 56 years, work his will, seemingly effortlessly, over his material, making it look so easy and inevitable that the thousands and thousands of hours of experiment and experience seem to slip away. The hands of the master - dalle mani del maestro - after all, are directed by that master’s mind and eye and shoulders and wrists, and Lino Tagliapietra’s hands are led by the very best.

James Yood teaches art history at the School of the Art Institute of Chicago and writes regularly for GLASS magazine.

Page 16: Dalle Mani del Maestro "From the Hands of the Maestro"

Lino at MIT Er ik D. Demaine & Mart in L. Demaine

Martin Demaine, Er ik Demaine, L ino Tagl iapietra and Peter Houk at MIT, Cambridge, MA, 2011

MIT’s motto is “Mens et Manus”, which i s Lat in for “Mind and Hand.” A great example of this pr inciple i s the MIT Glass Lab, a hot glass studio run by Peter Houk and advised by Michael Cima. The Glass Lab al lows students to experience the physical i ty and art form of glass blowing (with their hands), whi le other c lasses offer the underlying mater ials sc ience and technology of glass (with their minds). Introductory glass blowing is one of the most popular c lasses at MIT, with over ten t imes as many people wanting to take the c lass as we have space.

Lino f irst vis i ted MIT in October 2009 to give a publ ic lecture about his work. In addit ion to showing his amazing pieces and techniques, we found it s tr ik ing how much Lino stressed the history of blown glass , making him a genuine scholar in addit ion to an art i s t .

In October 2010, L ino came for a week with his team of over 12 years: Nancy Cal lan, John Ki ley, and David Walters . Together they made 17 beauti ful pieces, whi le the MIT community watched Lino’s techniques with fasc inat ion. The lab i s smal l , tucked into a room in the basement of MIT campus. Fortunately, L ino f inds this quaintness charming, (“l ike the old way”). While the tools in the Glass Lab are al l tradit ional , the surrounding sc ience and technology of MIT has started to creep into i ts inf luences. Being both glass blowers and sc ient ists , our goal has been to pursue these connect ions more thoroughly, hoping to change the way people blow glass or think about blowing glass .

Page 17: Dalle Mani del Maestro "From the Hands of the Maestro"

We asked Lino about a new project idea to use computat ional and geometr ic techniques to des ign new glass cane ( f i l igrana in I tal ian). Cane is made by pul l ing a fat cyl inder of colored glass into a very long str ing, often twisted to produce a f ine, intr icate color pattern that later gets incorporated into a glass sculpture. While there are dozens of standard cane designs, few new patterns have been designed in the past few decades. Our idea was to develop a computer program that would help glass blowers virtual ly explore a vast range of cane designs with the goal of discovering new designs. We asked Lino whether he thought there were any new cane designs to be found, and he encouraged us with his bel ief that there were many new designs yet to be found.

Peter Houk suggested that L ino work with us on this project , and they scheduled a third vis i t for September 2011. This deadl ine encouraged us to transform our idea into a real project . We formed a team of col laborators: Andrew Winslow (lead developer, geometer, and PhD student at Tufts) , J im McCann (graphics and rendering expert, postdoc at Adobe Research), Benjamin Lee (programmer, undergraduate at MIT), Kimberly Baldauf (programmer, master ’s s tudent at MIT), and Peter Houk (who helped ground us with the glass blower ’s perspect ive). Over the intervening several months, we developed a f i rst vers ion of our virtual glass blowing software, whose current focus i s around pul l ing, twist ing, and arranging cane.

Lino was eager to explore new cane designs and make several large pieces. We presented him with a couple dozen designs that we had come up with on the computer, some of which we were not certain how to make when constrained by the real i ty of glass blowing. L ino immediately saw how to make al l of them, and chose a few designs that seemed part icular ly attract ive according to our s imulat ions. During the week of his vis i t , he pul led the cane and incorporated them into his larger pieces. L ino turning our virtual des igns into real i ty was the ult imate compliment. This experiment also represented the f i rst t ime that L ino put twisty cane into murrini pickups that he formed into vessels . L ino also gave us lots of useful feedback on the cane software, i l lustrat ing by way of example how cane warps and transforms depending on what f inal shape i t becomes (bowl, cyl inder, plate, etc.) .

We are excited about col laborat ing more with Lino, both on further virtual s imulat ion of blown glass , and on designing more geometr ic glass . I t amazes us how Lino has been such an icon of glass blowing for so many years, yet remains at the forefront, advancing the frontiers of ideas in glass . Not only i s L ino the best glassblower in the world, but he i s a lso the most open and sharing of his knowledge, techniques, and ideas.

Erik D. Demaine is professor of Computer Science at Massachusetts Institute of Technology.Martin L. Demaine is artist in residence at Massachusetts Institute of Technology,

Page 18: Dalle Mani del Maestro "From the Hands of the Maestro"

Lino and Dave working in Muki l teo, WA, 2009

Page 19: Dalle Mani del Maestro "From the Hands of the Maestro"

A Maestro of L iving David Walters , Art i s t

I feel i t most poignant to remark on my observat ions from standing over L ino’s shoulder for the past 18 years, during which we have basical ly worked, traveled, eaten, and l ived together. In doing so, I am trying to understand for myself why he i s so special to me. I so often have to remind myself to not be surprised by the things he continues to accomplish and the t i reless movement of his mind, i t i s in his work as i t i s a lso in his outlook on the world and in his l i fe. I t comes from a special des ire that we al l wish for but few of us achieve on so high a level , namely not to waste a moment of your l i fe unnecessar i ly. That i s how Lino l ives. He is constantly moving forward but enjoying and l iving in the moment with equal poise.

When Lino feels l ike he has squeezed al l there i s out of the moment, he elegantly eases his way into the next adventure. Despite being loved by many, he i s extraordinari ly generous with his t ime and f inds t ime for us al l . He gives his heart so wil l ingly that you feel l ike the most important person in the world when you most need a fr iend. The rhythm with which he conducts a coordinated team of glass blowers tr ickles down into everything he does. He is so much more than a technical thesaurus of an ancient tradit ion being lost to the modern world (as i f that were not enough, which i t i s not for L ino). He has an abi l i ty to recognize opportunity in the unantic ipated and make i t a point of interest rather than a distract ion. His mind is open in a way that seems almost unnatural , or at least to me is unexpected, for a man coming from a tradit ional and relat ively conservat ive world. The world he was born into came late to the Industr ia l Revolut ion, but i t has caught up now. L ino saw the writ ing on the wal l ear l ier than most; his abi l i ty to see opportunity in misfortune leads him to share his knowledge with those that aspire to carry on the same sense of purpose he represents .

Al l l i fe has a pulse to accompany i t , but some l ives produce a certain rhythm that i s beauti ful to watch. The rhythm of L ino’s l i fe gets more beauti ful and fun to watch as i t develops and his improvisat ional mind travels through i t . I t shows in the language of his work as i t does in the way he moves through the world. I t i s for this reason he i s a maestro and now Dr., but most importantly he i s a master of l iv ing and squeezing al l there i s to be had of the human experience. For this reason I ’m most grateful to know him and share the part of his l i fe I am fortunate enough to share with him. Lino told me once that “you have to suffer” and I see now that these are the truest words of al l for a complete l i fe. I f you truly love what you do and want to feel the deepest impact l i fe can offer, you have to not just be wil l ing to suffer a l i t t le, but thr ive in the suffer ing. That’s where the soul of things l ingers and I think that i s what L ino means.

Page 20: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 21: Dalle Mani del Maestro "From the Hands of the Maestro"

Catalog of exhibited works

november 2011 - January 2012

Page 22: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 23: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 24: Dalle Mani del Maestro "From the Hands of the Maestro"

k e n i a , 2 0 1 1

14.25 x 12.5 x 12.5”

Page 25: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 26: Dalle Mani del Maestro "From the Hands of the Maestro"

o s a k a , 2011

18 x 13 x 13”

next page:

o s a k a , 2011

17.75 x 12 x 11.75”

Page 27: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 28: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 29: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 30: Dalle Mani del Maestro "From the Hands of the Maestro"

o s a k a , 2011

18 x 13 x 13”

Page 31: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 32: Dalle Mani del Maestro "From the Hands of the Maestro"

f u j i , 2011

25.75 x 13.5 x 9”

Page 33: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 34: Dalle Mani del Maestro "From the Hands of the Maestro"

f u j i , 2011

19.5 x 16 x 8.75”

Page 35: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 36: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 37: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 38: Dalle Mani del Maestro "From the Hands of the Maestro"

f u j i , 2011

18.75 x 21.5 x 10.25”

Page 39: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 40: Dalle Mani del Maestro "From the Hands of the Maestro"

f u j i , 2011

25.75 x 13.5 x 9”

Page 41: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 42: Dalle Mani del Maestro "From the Hands of the Maestro"

g e o r g e , 1 9 9 9

60.25 x 30 x 1.25”

Page 43: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 44: Dalle Mani del Maestro "From the Hands of the Maestro"

v e n i c e , 2 0 1 1

1 8 . 7 5 x 3 4 . 5 x 0 . 5 ”

Page 45: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 46: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 47: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 48: Dalle Mani del Maestro "From the Hands of the Maestro"

v e n i c e , 2011

36 x 14 x 0.75”

Page 49: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 50: Dalle Mani del Maestro "From the Hands of the Maestro"

v e n i c e , 2011

34 x 19 x 0.75”

Page 51: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 52: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 53: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 54: Dalle Mani del Maestro "From the Hands of the Maestro"

b i l b a o , 2011

34 x 13.75 x 9.5”

Page 55: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 56: Dalle Mani del Maestro "From the Hands of the Maestro"

b i l b a o , 2004

44.5 x 13.75 x 9.5”

Page 57: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 58: Dalle Mani del Maestro "From the Hands of the Maestro"

f e n i c e , 2011

14 x 21.25 x 4.75”

Page 59: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 60: Dalle Mani del Maestro "From the Hands of the Maestro"

f e n i c e , 2011

11 x 39.75 x 5.5”

Page 61: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 62: Dalle Mani del Maestro "From the Hands of the Maestro"

f e n i c e , 2011

39.75 x 16 x 5.25”

Page 63: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 64: Dalle Mani del Maestro "From the Hands of the Maestro"

f e n i c e , 2011

40.5 x 13 x 4.5”

Page 65: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 66: Dalle Mani del Maestro "From the Hands of the Maestro"

a n g e l t e a r , 2011

63.5 x 19.75 x 5”

Page 67: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 68: Dalle Mani del Maestro "From the Hands of the Maestro"

k i r a , 2011

19.5 x 19.75 x 8”

Page 69: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 70: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 71: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 72: Dalle Mani del Maestro "From the Hands of the Maestro"

o s t u n i , 2011

18.25 x 16.75 x 6.5”

Page 73: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 74: Dalle Mani del Maestro "From the Hands of the Maestro"

d i n o s a u r , 2011

61.75 x 26.25 x 9.75”

Page 75: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 76: Dalle Mani del Maestro "From the Hands of the Maestro"

o c a , 2011

39 x 9.25 x 7”

Page 77: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 78: Dalle Mani del Maestro "From the Hands of the Maestro"

d i n o s a u r , 2011

61.75 x 26.25 x 9.75”

Page 79: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 80: Dalle Mani del Maestro "From the Hands of the Maestro"

n a t o a l o s , 2007

21 x 20.25 x 10.5”

Page 81: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 82: Dalle Mani del Maestro "From the Hands of the Maestro"

c e l l o , 2006

27 x 16.75 x 7.25”

Page 83: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 84: Dalle Mani del Maestro "From the Hands of the Maestro"

n i o m e a , 2 0 0 8

27.25 X 16 X 8”

Page 85: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 86: Dalle Mani del Maestro "From the Hands of the Maestro"

t a t o o s h , 2 0 0 8

25.25 x 13.24 x 8”

Page 87: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 88: Dalle Mani del Maestro "From the Hands of the Maestro"

s a b a , 2 0 0 6

28.5 X 14.75 X 6.75”

Page 89: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 90: Dalle Mani del Maestro "From the Hands of the Maestro"

e n d e a v o r , 2009

7.5 x 57 x 6.75”

Page 91: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 92: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 93: Dalle Mani del Maestro "From the Hands of the Maestro"

artiSt BiograpHy, eXHiBit ionS,SeleCteD BiBliograpHy

lino tagl iapietra

Born in Murano, i taly, 1934

training

1946 apprent iceship with archimede Seguso, Murano, i taly

profess ional

1955-65 Vetrer ia gal l iano Ferro, Murano, i taly1955 achieves status of Maestr ino1956 achieves status of Maestro1966-68 Venini & Co., Murano, i taly1976-89 art ist ic and technical Director, effetre international, Murano, i taly1989- independent art ist

teaching

1976/78/81 Workshops at la Scuola internazionale del Vetro, Murano, i taly1979 Begins teaching regular ly at pi lchuck glass School, Wa, USa, other: C.e.r.V.a.F. , Vannes le Chatel , France Centre Col lege, Ky, USa Centre international de recherche sur le Verre, Marsei l le, France Haystack Mountain School of Crafts , Me, USa JamFactory, adelaide, austral ia Mit, Ma, USa pratt F ine arts Center, Wa, USa rhode is land School of Design, r. i . , USa San Jose State Univers i ty, Ca, USa the Studio of Corning Museum of glass, ny, USa toyama art School, toyama, Japan Univers i ty of Sydney, Sydney, austral ia Urbanglass, ny, USa

Page 94: Dalle Mani del Maestro "From the Hands of the Maestro"

Selected international awards

1968-76 Cofounder and chief maestro at la Murrina, Murano, italy1968 Borsella d’oro award, Murano, italy1972 grand prix in lighting, Barcelona trade Fair, Barcelona, Spain1996 rakow Commission for excellence in glass award, the Corning Museum of glass, ny, USa1996 Urbanglass award for preservation of glassblowing techniques, ny, USa1996/98 Venezia aperto Vetro, guest of Honour, invited guest, Venice, italy1997 glass art Society lifetime achievement award, USa1997 Urkunde goldmedaille, germany1998 libensky award, Chateau Ste Michelle Vineyards and Winery and pilchuck glass School, Wa, USa2000 Humana Distinguished professor, Centre College, Kentucky, USa2001 Metal for excellence in Craft award, the Society of arts and Crafts, Boston, Ma, USa2004 Honorary Doctor of Humane letters, Centre College, Ky, USa2004 the president’s Distinguished artist award, University of the arts, philadelphia, pa, USa2004 artist as Hero award, national liberty Museum, philadelphia, pa, USa2004 artist Visionaries! lifetime achievement award, Museum of arts & Design, ny, USa2006 Distinguished educator award, James renwick alliance associated with the renwick gallery of the Smithsonian american art Museum, Washington DC, USa2007 Cristal award, Museo del Vidrio, Monterrey, Mexico2007 Foreign Honorary Member, american academy of arts and Sciences, Cambridge, Ma, USa2009 the iiC lifetime achievement award, istituto italiano di Cultura, los angeles, Ca, USa2010 Master teacher/Master artist, Hite art institute, University of louisville, Ky, USa2011 Master of Medium award, James renwick alliance, Washington DC, USa2011 Honorary Degree, Doctor of Fine arts, ohio State University, Columbus, oH, USa

Page 95: Dalle Mani del Maestro "From the Hands of the Maestro"

Selected Museum exhibitions and Collectionsaperto Vetro, Venice, italyBellevue art Museum, Bellevue, Wa, USaBiennale di Venezia, Venice, italyCarnegie Museum of art, pittsburgh, pa, USaChrysler Museum of art, norfolk, Va, USaColumbia Museum, Columbia, oH, USaColumbus Museum of art, Columbus, oH, USaCorning Museum of glass, Corning, ny, USaDanish royal Museum, Copenhagen, the netherlandsDayton art institute, Dayton, oH, USaDetroit institute of arts, Detroit, Mi, USaFuller Museum of art, Brockton, Ma, USaglasmuseum, ebeltoft, DenmarkHokkaido Museum of Modern art, Sapporo, JapanHunter art Museum, Chattanooga, tn, USaJewish Museum, San Francisco, Ca, USaKestner Museum, Hannover, germanyKitazawa Museum of arts, takane-cho, JapanM.H. de young Memorial Museum, San Francisco, Ca, USaMarianna Kistler Beach Museum of art, new york, ny, USaMary and leigh Block Museum of art, Chicago, il, USaMetropolitan Museum of art, new york, ny, USaMint Museum of Craft and Design, Charlotte, nC, USaMontgomery Museum of Fine arts, Montgomery, al, USaMusée des arts Décoratifs, losanna, SwitzerlandMusée des arts Décoratifs, paris, FranceMuseo del Vidrio, Monterrey, MexicoMuseum of art, Washington State University, pullman, Wa, USaMuseum of arts and Design, new york, ny, USaMuseum Boymans, rotterdam, the netherlandsthe Museum of Fine arts, Houston, tX, USaMuseum of glass, tacoma, Wa, USaMuseum Het paleis, the Haag, the netherlandsnational Museum of Ceramic art and glass, Baltimore, MD, USanorton Museum of art, West palm Beach, Fl, USaorlando Museum, orlando, Fl, USapalazzo Franchetti, Venice, italypalazzo grassi, Venice, italypalm Springs art Museum, palm Springs, Ca, USaracine art Museum, racine, Wi, USarenwick gallery of the Smithsonian american art Museum, Washington, DC, USaScottsdale Museum of Contemporary art, Scottsdale, aZ, USaSeattle art Museum, Seattle, Wa, USaShanghai Museum of glass, Shanghai, ChinaSpencer Museum of art, the University of Kansas, lawrence, KS, USaStanford University, palo alto, Ca, USatokyo national Modern art Museum, tokyo, Japantoledo Museum of art, toledo, oH, USatoyama City institute of glass, toyama, JapanVictoria and albert Museum, london, UK

Page 96: Dalle Mani del Maestro "From the Hands of the Maestro"

Selected Bibliography

Mentasti, rosa Barovier. “lino tagliapietra da Murano allo Studio glass l opera 1954-2011” (February 2011).Biller, Steven. “libretto in glass,” Palm Spring Life (october 2009).annas, teresa. “the glass Master,” The Virginian-Pilot (april 8, 2009).Dill, Michele andrus. “Modern Maestro,” Alaska Airlines Magazine (June 2008).Kangas, Matthe. “lino tagliapietra: Birth of a genius,” Neues Glas/New Glass (February 2008).Clemans, gayle. “a true Maestro of glass, with a Shred of retrospective reluctance,” Seattle Times (February 22-28, 2008).Waggoner, Shawn.“lino tagliapietra: the Maestro of Murano,” Glass Art (March/april 2008).Frantz, Susanne K. “lino tagliapietra in retrospect: a Modern renaissance in italian glass” (February 2008).ricke, Helmut. “tradition and renewal: Venetian Ways and lino tagliapietra,” Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass (February 2008).Marioni, Dante. “Making a goblet is a language,” Lino Tagliapietra in Retrospect: A Modern Renaissance in Italian Glass (February 2008).Wagonfeld, Judy. “ribbons of Capellini pasta, a Fisherman’s Knots, the olympic Mountains, an elaborate Shoe-lacing, rippling Water,” Il Bianco e il Nero (February 2008).artner, alan. “pretty glass Sculpture May Confuse Some,” Chicago Tribune (august 31, 2007).Morgan, robert C. “lino tagliapietra,” Significant Form (September 2006).yood, James. “lino tagliapietra,” Materia e Poesia (June 2005).yood, James. “the art and Journey of lino tagliapietra,” Giving Life to Glass: The Art of Lino Tagliapietra october 2004).north, Bill. “Within and Without: thoughts on Suspension and the glass of lino tagliapietra,” Giving Life to Glass: The Art of Lino Tagliapietra (october 2004).Oldknow, Tina. “Italian Influences on American Glass,” La Danza Con Fuoco (october 2004).nill, annegreth t. “Conversation,” The Art of Lino Tagliapietra: Concerto in Glass (october 2003).Kangas, Matthew. “lino tagliapietra,” Glass: The Urban Glass Quarterly (Winter 2002).litinsky, laura. “lino tagliapietra: Still Motion,” Florida Design (December 2002).Heilenman, Diane. “Hot Glass Profile – Lino Tagliapietra,” Profitable Glass Quarterly (Fall 2001).Hackett, regina. “lino tagliapietra,” ARTnews (Summer 2000).powers, pike. “an interview with lino tagliapietra,” GAS News (May/June/July 2000).eliens, titus M. “Haags gemeentemuseum/Museum Het paleis: Meeting Between a. D. Copier and lino tagliapietra, two internationally renowned glass artists,” This Side Up! [Valkenswaard, the netherlands] (Summer 2000).oldknow, tina. “Conversation with lino tagliapietra,” Vetro [Murano] (april/June 1999).Wichert, geoff. “lino tagliapietra,” Glass: The Urban Glass Quarterly (Winter 1999).Hajdamach, Charles r. “the Maestro of Venice,” Crafts (July/august 1998).neumann, nicolaus. “Die Kunst des langen atems,” Merian (May 1998).Marquis, richard. “Maestro lino,” American Craft (December 1997/January 1998).Barovier, Marino, (editor). thomas S. Buchner and Susanne K. Franz, Tagliapietra: A Venetian Glass Maestro, Venice (1998).“lino tagliapietra: 1997 lifetime achievement award,” The Glass Art Society Journal (1997)Zwingle, erla. “More than a Dream: Venice,” National Geographic (February 1995)Sarpellon, giovanni. Lino Tagliapietra: Vetri Glass, Venice (1994).Mentasti, rosa Barovier. Vetro Veneziano 1890-1990, Venice (1992).Frantz, Susanne K. Contemporary Glass: A World Survey from the Corning Museum of Glass, new york (1989).

Page 97: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 98: Dalle Mani del Maestro "From the Hands of the Maestro"

Lina and Lino in Murano.

Page 99: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 100: Dalle Mani del Maestro "From the Hands of the Maestro"
Page 101: Dalle Mani del Maestro "From the Hands of the Maestro"

We wish to thank lina and lino tagliapietra for their passion for life and friendship.

We would like to also extend our gratitude to lino’s manager, Cecilia Chung,

for her support and friendship over the years.

thank you to Martin and eric Demaine, David Walters and James yood

for their contribution to this book.

Jim Schantz and Kim SaulSchantz galleries

Stockbridge, Massachusetts

www.schantzgalleries.com

Page 102: Dalle Mani del Maestro "From the Hands of the Maestro"

SCHantZ gallerieS