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tuale di Gian Carlo Maroni, induce Gabriele d’Annunzio, ormai divenuto per antono-masia Il Comandante, a convocare a Gardo-ne artisti per il compimento del progetto, e in particolare i veneziani della cosiddet-ta “avanguardia capesarina”, il cui trami-te è proprio Napoleone Martinuzzi, ancora impegnato nel progetto del sepolcro e del
A sculptor, designer, and entrepreneur in the glassmaking industry, Napoleone Martinuzzi was trained at the Accademia di Belle Arti in Venice. Gabriele D’Annunzio’s favourite, he started creating several works for the latter in 1917. From 1922 to 1931, he directed the Glassmaking Museum in Murano. Then, he began working for the company Succ.
A sculptor, designer, and entrepreneur in the glassmaking industry, Napoleone Martinuzzi was trained at the Accademia di Belle Arti in Venice. Gabriele D’Annunzio’s favourite, he started creating several works for the latter in 1917. From 1922 to 1931, he directed the Glassmaking Museum in Murano. Then, he began working for the company Succ.
His acquaintance with the writer Gabriele D'Annunzio, who influenced many of the artists of his generation, can be considered as the starting point. In 1921, Martinuzzi created enamel-painted glasses modeled after Vittorio Zecchin.
Casa del sogno di Gabriele D’Annunzio, Brescia 1988, pp. 193 s., 206; P. Martinuzzi, Il Monumento ai caduti di Murano e altri studi architettonici dello scultore N. M., Venezia 1990; L’arte del vetro.
The essay presents copy and analysis of the unpublished letters between Napoleone Martinuzzi and Gabriele d’Annunzio in the years 1917-1933, which are kept in the archives of Il Vittoriale degli Italiani in Gardone Riviera (Brescia), last residence of the Poet.
The exhibition also delves into the bond between Martinuzzi and the poet Gabriele D’Annunzio, who commissioned the Murano artist to make not only sculptures but works of glass too.
