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Author Topic: Best example of Bullicante - Any Ideas who made it?  (Read 517 times)

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Offline ardy

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Re: Best example of Bullicante - Any Ideas who made it?
« Reply #20 on: March 03, 2018, 10:33:10 PM »
:) Ardy, your comment reminds me of a time I caught my OH gazing in awe at a large and striking lump of beautiful cased yellow and black glass in a posh gallery in Amsterdam, before he noticed I'd noticed him gazing.
When he did, he got flustered and growled; "I'm a man. I like curves."
Like you, he just likes what he likes and that's that. ;D

Sue - we men are nice and simple, whereas your sex are never set or predictable.

My partner goes through agonies picking colours. It takes me about 20 secs; although I can make a pig's ear out of a silk purse, still in classic male manner, I just repaint it! Better still, in the past, I have paid for a colour consultant and then used the scheme over and over.

If I see a piece of glass I like, that is it......assuming I can afford it.....
Clean and Crisp a Murano twist.
Archimede tops my list.

Offline BDG55

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Re: Best example of Bullicante - Any Ideas who made it?
« Reply #21 on: March 04, 2018, 03:56:42 AM »
I believe the confusion comes in due to the fact that if you do a search for Sfumato, as you did, all of the definitions pertain to art and not glass, so as a result, we're led to believe that the definition holds true for glass.

I've gone through five of my Murano reference books, but none provides the technique for Sfumato.  The only information that comes up, time and again, is that the color is dark gray.  Doing a Google for images... same thing, the majority of the pieces are gray.  Now, you may find a few pieces that are "said" to be Sfumato, but outside of some Scandinavian pieces I've seen which are brown, but the others aren't according to the "Murano" defination of the word.

Found this online:

Quote
Fumato... It consists in a glass that, under a transparent colourless layer, contains inside it coloured corpuscles that, due to the diffraction of light, give the visual impression of "smoke". It is obtained as follows: during production, the surface of the item is exposed to the smoke of a wood fire; a certain quantity of greyish particles (unbrnt carbon and ash) adheres to the surface of the glass that is in turn vigorously marked with metal tools so as to form some grooves.
The entire surface is later coated again with another layer of molten glass.

This technique was presumably invented by Alfredo Barbini at the V.A.M.S.A. glass factories at the end of the 30s and was used to execute both vases and figures of birds.  Some minor furnaces took this technique up again in the 80s, but for all intents and purposes, it's seldom used.

Mod: quoted text highlighted by quote box for clarity. Source of the quote is this page in the MuranoNet site:

I don't know what reference books you have access to, but outside of Pinas first book,  where she incorrectly assigned the term to Polveri glass - but later corrected it in her next book -  I have been unable to find a Polveri piece identified as Sfumato. 

What I think we're trying to do is fit Da Vinci's definition to glass, ignoring the fact that practically all of the Murano reference books that mention the technique, and photos found online, fit the description of dark "smoky" glass to a T.  I hope this helps.

 Glass,  you gotta love it!
 

 

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