Loredano Rosin (Venice 1936-1991).
In 1948 his family moved out of the historic center of Venice where his father Giovanni was a glass blower at the Franchetti furnace.
At the age of thirteen, Loredano immediately found a job with the Domus glassworks, which at the time specialized in making traditional Venetian chandeliers, and was put at the service of Maestro Romano Zanetti.
Loredano was immediately promoted to the status of master glassmaker.
Later, he worked with various furnaces.
In 1964, he opened his own furnace in association with the Mirco brothers and his younger brother Dino, who, from that moment on, was to be always by his side.
Rosin also worked with maestro Ermanno Nason. But the great turning point in his career came in 1965 when he met Egidio Costantini, who asked him to work with the “Fucina degli Angeli” on the creation of glass works designed or conceived by the most outstanding national and international artists in the contemporary art world of the time: Picasso, Chagall, Ernst, Arp, Kokoshka and Cocteau as well as Italian artists like Fontana, Licata, Guidi and Guttuso. Until August 1974, Rosin produced the works of these great artists in the kilns and increasingly refined his natural technical skills in solid glass processing.
In 1975, together with his brother Dino, he finally set up the “Vetreria Artistica Loredano Rosin” in which he was free to create glass sculptures of great beauty, rediscovering techniques and glass types whose use had long since been lost; just to mention one: chalcedony. Alternating with crystal, Rosin’s chalcedony (obtained by adding silver nitrate to the melting mass to create smooth streaks in the glass, reproducing the effects we see in some hard stones, in particular striped agate) soon became the base on which to create fully rounded extraordinary works characterized by plastic, soft and supple shapes, which immediately attracted the interest of the public raising him to the top of Murano artistic production.
In 1985 Loredano Rosin began a series of highly successful international exhibitions: first in the United States, in particular Philadelphia where his first personal exhibition of unpublished works at the Dorothy Lerner gallery met with an extraordinary success, followed the next year (1986) by another exhibition at the Adele Rosen Gallery in Santa Barbara, California and then another one in London at Knightsbridge Interiors.
In 1987 he exhibited in Japan, in Tokyo.
In 1989 Loredano Rosin was chosen to represent the Murano artistic production at the “International Glass” event in conjunction with the 19th Annual Symposium of the Glass Art Society in Toronto, Canada; in the same year he brought his sculpture works to Norway, to be displayed at the “Vetri di Murano: 1400-1989″ exhibition at the Kunstindustrimuseet in Oslo.
Until the early nineties Loredano Rosin’s success seemed to be unstoppable and was characterized by continuous recognition and both national and international awards.
