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A gentle breeze blowing through the streets of Murano gently ruffles the colourful skirts of women passing by. This scene inspired Fulvio Bianconi to create a unique piece whose shape changes with every single creation, as if ruffled by the wind of the Fornace (Kiln).
Fulvio Bianconi settled in Milan and collaborated throughout his life with the Milanese publishing houses Mondadori, Bompiani and Garzanti as a graphic designer and illustrator. He also dedicated himself to painting frescos in the Galtrucco stores and in the Pavilions of the Milan Trade Fair. These occupations were combined with his constant passion for glass.
In 1946, he repeatedly went to Murano to study the art of glassmaking. Here he met Paolo Venini, a decisive meeting for both of them: this young man’s creativity marked a breaking point in the history of VENINI. Vehement research and experimentation with new glassmaking techniques, which often implies re-elaborating very ancient skills, is a constant in Fulvio Bianconi’s work. New movements and colours emerge in the glass and retrace the bond between the history of Murano and a great modernity.
This contamination between craft and creative flair has given rise to several iconic works, such as the Figure della Commedia dell’Arte, the Tiepolo, the Fazzoletto, the Sirene and the Pezzati.
In 1921, Paolo Venini, who was a Milanese lawyer with a long family tradition in glassmaking, founded the company that would take the name VENINI with Giacomo Cappellin, an antique dealer. The company was established with the goal of transforming the classic craft of the glassmaker into an innovative art that could quickly dominate the scene at the Triennale exhibitions in Milan, the Biennale in Venice, and of exhibitions all over Europe and the United States.
A result that was made possible by the synergy, which was promoted by Venini himself, between master glassmakers, designers, and architects from all corners of the world that could anticipate and guide taste and imbue each model that came out of its kilns with a precise identity.
Its confident aesthetical choices, together with the extremely high quality of the products, brought its glassworks increasing success among critics and audiences.
Paolo Venini himself had been designing since the early 1930s: the Diamante glasses are from 1936, and, in collaboration with Carlo Scarpa, he created the Murrine romane.