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Lot Essay
The Roman Murrine series of 1936 defined a crucial development in Scarpa’s analysis of structure and of decoration. Conceived together with Paolo Venini, whose collection of ancient Roman vessels provided reference for inspiration, the series was revealed in 1936 at both Venice Biennale and Milan Triennale. Scarpa’s enthusiasm for ancient Roman forms is well-documented, and the earlier works produced first at M.V.M. Cappellin and those later at Venini assessed Classical forms and carefully-manipulated surfaces that referenced the Antique. This series evolved from analysis of Roman mosaic patterns, and of ancient fused-murrine glass vessels.
The Roman Murrine technique required the fusing together of cubic elements of glass murrine, and was thus Scarpa’s first analysis of glass vessels that were assembled, or built, rather than objects that were simply blown. The archaic personality of these vessels was further enhanced by light surface polishing that emphasized – rather than eliminated – the artisanal personality of construction. As such, the Roman Murrine series introduced a new dialogue to Scarpa’s creativity, and inaugurated the analysis of murrine structures that would reach apotheosis with the Murrine Opache, Laccati Neri e Rossi, and Murrine Transparenti vessels exhibited at the XXII Venice Biennale, 1940.
The Roman Murrine technique required the fusing together of cubic elements of glass murrine, and was thus Scarpa’s first analysis of glass vessels that were assembled, or built, rather than objects that were simply blown. The archaic personality of these vessels was further enhanced by light surface polishing that emphasized – rather than eliminated – the artisanal personality of construction. As such, the Roman Murrine series introduced a new dialogue to Scarpa’s creativity, and inaugurated the analysis of murrine structures that would reach apotheosis with the Murrine Opache, Laccati Neri e Rossi, and Murrine Transparenti vessels exhibited at the XXII Venice Biennale, 1940.