International Glass
by Sara Sally LaGrandPhotography by Gianluigi BertolaW
hen I first encountered the work of Lucia Santini, I knew
immediately that it was special. Beyond special. Her art reso-
nates in many ways, and I don’t think it’s just because I love art, art
history, painting, and anything Venetian, although all those factors
play into this subliminal feeling of recognition. I think it is because
of the love she puts into her work—her own fascination with the
history of her own environment. Let’s talk about that environment.The Siren Call of Glass
It’s hard to imagine growing up in an atmosphere where everyone
is expected to enter into the making of art and the business of art on
some level. Because I discovered the magic of glass at such a late
place in my life, it’s hard to fathom the family that starts your art
education around the same time you learn your ABCs. Lucia began
by painting the little glass bottles made by her father Mario Santini.
Even as she went to a tech school to learn languages, the fam-
ily’s life kept her finger in the business of making art. Like many
teenagers, however, she turned away from glass to forge her own
path in the world. Santini spent many years in her early adulthood
pursuing an acting career. It was a career she really loved, but
something kept calling her back to her roots—back to the roots of
her hometown, Murano, Italy.Santini the Explorer
Her first professional painting experience began at the company
De Blasi Virgilio, where she was employed for two to three years.
The scope of her work there included mixing perfect color and mak-
ing only dots. However, perfect dots they were. It was very much
like a factory situation, but she feels she learned a lot in those days.
The next three years were spent at Cenedese Giovanni making
vases with lots of flowers for exhibitions and home furnishings.
During that time, Lucia began working at home developing her own
style to sell in the shops in Venice. As her skills grew, her reputation
began to grow as well.
In her next position at Cenedese ARS, she feels she had the best
instructor, or “master,” who also worked in traditional gold painting
and reverse glass painting. It was an atmosphere of great growth
and creativity. The master would bring a vase to her—sometimes a
really big vase—and ask her what she thought they should do with
it. He listened to her ideas and let her have free reign to let her
imagination be expressed fully. This was a stop on the journey of
her life. Like Christopher Columbus, she sees herself as an explorer.50 • Glass Art TM • May/June 2016 http://www.GlassArtMagazine.com
Lucia Santini, The Pilgrim Bottle, painted with polychrome
enamels, 11" high, 2014. Transparent crystal glass vessel
blown by Pietro Zaniol.
Lucia SantiniLucia Santini
When Art Is the Family BusinessWhen Art Is the Family Business