Born in Venice on January 10, 1936, Rosin began his human and professional adventure in the world of Murano glass in 1948 when his family moved from the historic center of Venice to the nearby island where his father Giovanni, “Nane Naso”, was employed as a glassblower in the processing of chemical products at the Franchetti glassworks.
After a long apprenticeship, thanks to which Rosin was able to learn the techniques and secrets of glass art, in 1961 his career in the furnace took a sudden turn and in that very year he began working as a servant at Luigi Pinzan's glassworks, specializing in the creation of solid glass ornaments.
Even if only for three weeks, in the mid-sixties Rosin worked alongside the master Ermanno Nason, being impressed by his skill in the working and modelling technique;
The great turning point in his artistic career came in 1965 when Rosin met Egidio Costantini, who asked him to collaborate with the “Fucina degli Angeli” in the creation in glass of works designed or conceived by the greatest national and international contemporary artists of the time: from Picasso to Chagall, from Ernst to Arp, from Kokoshka to Cocteau, moving on to the Italians Fontana, Licata, Guidi and Guttuso.
From then until 1974 Loredano, thanks to this and other important collaborations, became one of the main glass executors of the ideas of great artists and – at the same time – managed to develop a very personal and autonomous artistic vision of the work finally free from the Murano tradition in vogue until then.
Alternating with crystal, Rosin's chalcedony (created by adding silver nitrate to the mass during the melting phase in order to create in the glass the fluidity of the streaks of some hard stones, in particular the zoned agate) soon becomes the basis on which to model in the round a series of extraordinary works characterized by a plastic, soft and flexible modeling, which immediately arouse the interest of the public, thus decreeing his ascent to the top of Murano artistic production.
Favoring a personal and autonomous approach to artistic production, since the end of the experience with the “Fucina degli Angeli” he has refused any collaboration with other artists, making, over time, rare and targeted exceptions: in 1983 he created the Enchanted Nativity Scene with Pippo Madé, a work first exhibited in the Cathedral of Monreale in Palermo and, subsequently (1984), in the Upper Basilica of San Francesco in Assisi.
1985 is the year in which Loredano Rosin leaves the national scene to begin a series of highly successful international exhibitions: first in the United States, immediately achieving extraordinary success in Philadelphia with his first solo exhibition of unpublished works at the Dorothy Lerner gallery, followed the following year by another solo exhibition at the Adele Rosen Gallery in Santa Barbara, California and one in London at Knightsbridge Interiors.
Riding the wave of acclaim he received, in 1987 he brought another series of his sculptures to Japan, to Tokyo (Tokyo Mori), while the following year he returned to the United States to inaugurate, with his teaching, the first course in solid glass sculpture at the Pilchuck Glass School in Seattle; at the end of the course, again in Seattle (Sutton-White Gallery), he exhibited his works created during the lessons;
In 1989, Loredano Rosin was chosen to represent Murano's artistic production as a speaker at the “International Glass” event in conjunction with the 19th Annual Symposium of the Glass Art Society in Toronto, Canada, an event that also saw a memorable live demonstration; in the same year, he brought his sculpture works to Norway, to the exhibition “Vetri di Murano: 1400-1989” at the Kunstindustrimuseet in Oslo.
What remains of him are the masterpieces of his production, the most luminous testimony of a master who knew how to make glass a living and malleable material at the service of his creativity and genius.
Credit:
Limited Reproduction Copyright - Zogia Copyright