2024-11-01 10:06:00
Bright colors, dark glows and glitter effects. With his designs from the early 1950s, the artist Dino Martens brought glass blowing on the island of Murano to the highest level. Two of his series are particularly in demand in the art trade.
Corrado Martens, born in Venice in 1894 and trained as an artist at the Academy of Fine Arts, is described as a difficult, unstable and undisciplined character, called “Dino”. He had more than just a friendly, familial bond with the Venetian glassmaker Aureliano Toso, who comes from one of the established families on the island of Murano. They also shared political attitudes, according to Antwerp art dealer Marc Heiremans, a leading expert on the history of modern Murano glass, its makers and designers.
In the mid-1930s, Toso and Martens followed fascist dictator Benito Mussolini into the Italian-Ethiopian war in the colony of Eritrea. One served as an officer, the other as a private. While one soon returned to Italy, the other even settled for a few years in the Eritrean capital Asmara, traveling to parts of northeast Africa and painting.
In 1940 Martens also returned home, as a business partner of his friend on the island of Murano. Aureliano Toso founded his own glass factory there. Dino Martens is hired as a designer, initially as a freelancer. But we had to wait until after the Second World War for his great creative period to finally begin.
Murano glass: the originals are rare and precious
Dino Martens experimented in the smelting furnace, developed innovative techniques and presented his uncompromising series at the Venice Biennale: the colorful “Oriente”, perhaps named in memory of his years in Eritrea, and the mysterious, dark and glittering “Eldorado” Venetian. In the early 1950s he was at the height of his creative power and Aureliano Toso managed to continue the avant-garde tradition of modern Murano glass.
The “Oriente” technique consisted of enclosing a cold-made composition of cut colored glass and brightly colored opaque glass, glass rods and glass sheets between two layers of colorless cased glass. The shape was then blown from this blank. The “Eldorado” technique is a variant with mostly transparent glass in darker colors and fused mica quartz particles that create a shimmering effect. This gives the material depth and shines like a spiral nebula in space. Both series were commercial successes.
Today Dino Martens’ works for Aureliano Toso from 1952 to 1954 are rare and therefore highly sought after in the art trade. An “Eldorado” ship was sold at an Italian auction house for up to 185,000 euros. The Van Ham auction house in Cologne is offering two objects for the auction on 12 November 2024, which are also found in the catalog raisonné of the Aureliano Toso manufacture.
The vase with the surreal smile “Oriente Geltrude” is auctioned for an estimate of between 20,000 and 30,000 euros. The “Eldorado” carafe, a donut-shaped carafe, is estimated at between 30,000 and 40,000 euros. Both glasses come from a private German collection.
Interview between Time.news Editor and Marc Heiremans, Expert on Murano Glass
Time.news Editor: Welcome, Marc! It’s a pleasure to have you with us today. Your expertise in the field of modern Murano glass, particularly regarding the artist Dino Martens, is truly impressive. To kick things off, can you tell us a bit about Martens’s early life and how it influenced his work?
Marc Heiremans: Thank you for having me! Dino Martens, born Corrado Martens in Venice in 1894, had a rather tumultuous upbringing. He trained at the Academy of Fine Arts, but his personality—characterized by instability and a certain rebelliousness—set him apart. His early interactions with notable figures, including glassmaker Aureliano Toso, were pivotal in shaping both his artistic style and his ideological views.
Time.news Editor: It’s fascinating how personal relationships and political contexts can influence art. The political climate during Martens’s life, particularly his involvement in the Italian-Ethiopian war, is notable. How did this experience shape his artistic direction?
Marc Heiremans: Martens’s involvement in the war is a complex part of his narrative. He and Toso shared a camaraderie that extended beyond friendship; they both shared the political ideologies of the time, which led them to enlist. Martens’s time in Eritrea was significant—he didn’t just fight; he also embraced the culture, which clearly influenced his later works. The colors and exotic themes in his glass designs reflect that journey.
Time.news Editor: After the war, you mentioned that he entered a significant creative period. What innovations did he bring to the art of glassmaking during the post-war years?
Marc Heiremans: Post-war, Martens truly flourished as a designer for Aureliano Toso’s glass factory. He developed new techniques in glassblowing, which allowed him to experiment with vivid colors and textures. His renowned series, “Oriente” and “Eldorado,” are perfect examples; “Oriente” possibly nods to his experiences in Eritrea while “Eldorado” evokes a sense of mystery through its dark, glittering effects.
Time.news Editor: Those series truly are captivating! Why do you think Martens’s works are in such high demand in today’s art market? What makes them so special?
Marc Heiremans: Original pieces from Dino Martens are incredibly rare and precious. Their uniqueness lies not only in the innovative techniques he employed but also in the vibrant and evocative nature of his designs. Art collectors today seek authenticity and stories behind the pieces they acquire, and Martens’s works encapsulate a rich historical and cultural narrative that many find irresistible.
Time.news Editor: It seems there’s both an emotional appeal and an artistic prowess that collectors are drawn to. As we look to the future of glass art, what do you see as the legacy of Dino Martens?
Marc Heiremans: Martens’s legacy is twofold. He not only pushed the boundaries of glass artistry but also inspired future generations of glass artists on Murano and beyond. His work laid the groundwork for a more expressive and experimental approach to glass design, encouraging new artists to explore their creative potential. The resurgence of interest in mid-century modern aesthetics has revitalized appreciation for his masterpieces, ensuring that his influence will continue to resonate in the art world.
Time.news Editor: That’s an exciting outlook! Thank you so much for sharing your insights on Dino Martens and the world of Murano glass. Your passion for the subject is infectious, and I’m sure our audience will appreciate learning about this extraordinary artist.
Marc Heiremans: It was my pleasure! Thank you for having me. I hope more people discover the beauty and complexity of Murano glass and its history.