Abstract
ABSTRACT The first Biennale opened in 1895 without a decorative arts section, which was a blow for the Venetian glass masters who hoped to take advantage of the new platform. In reaction to the successful 1902 exhibition of decorative arts in Turin, the Biennale realized that excluding the decorative arts represented a loss in terms of profit and attractiveness. It therefore introduced a decorative arts section in 1903 and from 1909 Murano glass held a central position within the exhibition. Its status evolved and reached a climax with the opening of a dedicated space, the Padiglione Venezia (Venice pavilion) in 1932. This article investigates the influence exerted by the on the market for Murano glass. It also analyses how it acted as an international springboard for the local industry and the evolution of taste from reproduction to bolder, more modern pieces.
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