Vistosi is one of the oldest glassblowing families, their roots date back to the 18th century. In 1945, Guglielmo Vistosi opened a manufacture of innovative design and concepts of production. The industrial design fascinated Vistosi. He connected this with local glass-making techniques.
After his death in 1952, his younger brother Oreste Vistosi acquired the company, assisted by the sons Gino and Luciano. The factory now specialised in light objects.
His nephew and external artists worked in the factory, such as Peter Pelzel, Alessandro Pianon or Fulvio Bianconi. In 1963, a big exhibition took place in the Danese Gallery. In the same year, the factory received the Golden Compass Award for a series of cylindrical vase with spirals.
In the 60s, the company took part in major exhibitions in Italy, including the Venice Biennale. The preferred techniques in the 60s were the murrhines, for example, designed by Peter Pelzel and executed by Francesco Martinuzzi. In the next few years, the manufacture worked together with the greatest Italian designers such as Gae Aulenti, Vico Magistretti, Eleonore Peduzzi Riva and Ettore Sottsass.
At the end of the ‘70s, the company changed hands: the uncle Oreste left the company in 1977. his son Gino left in 1980. Luciano Vistosi found himself in the position of seeking new partners for the company.
One solution he considered was to sell stock in the compnay, dividing the capital into three equal parts: one would remain in his possession, as head of production in Murano, the second would go to Artemide Spa from Milan, the third to the Swiss bank Weiss Credit.
In the economic boom of the early ‘80s, this new structure proved to be functional and productive. The business was stimulated by the collaboration with designers, supported by a growing sales network.
In those years it reached the apex of its artistic evolution, creating works which are still part of museum collections all over the world, some of which are still in production today, because they are children of a "timeless" beauty.
In 1982 the bankruptcy of Weiss Credit brought economic difficulty to the company. Two thirds of the glasshouse, the stock owned by the bank and by Artemide, were brought by Piero Toso from the Muranese company Barovier & Toso, and soon resold to the Fontana Arte group in Milan.
The contrasts between Luciano Vistosi and his new partners led to a rapid and definitive break in 1984, when Luciano left Vistosi S.p.a. As a result, Vistosi S.p.a.s glass production, which had taken place in properties owned by Luciano Vistosi on Murano, was suspended.
In the mid ‘80s, the history of Vistosi S.p.a. entrusts its fortunes to the entrepreneurship of the Moretti family, who acquires the prestigious Vistosi company in 1989.
Giancarlo Moretti, owner of the Vetrofond furnace since 1979, had acquired Punto Luce srl, a company which produced lighting fixtures, in the early ‘80s. During those years, Fontana Arte was a client of Vetrofond, in which it had found a production alternative for the glass previously supplied by the Vetreria Vistosi. To produce for the Vistosi collection required a serious commitment on the part of Vetrofond, not only i terms of quantity, but especially in terms of product quality. The company had to learn the techniques and adjust to the standards, characteristics and shapes of the Vistosi collection, and was even obliged to invest in teaching new techniques to its glassworkers. In that decade the owners of Vetrofond, in response to increasing demand decided to develop their production capacity and in 1984 acquired the Murano furnace Aureliano Toso, with its business, its brand name and its properties.
In 1993, Matteo Moretti, Giancarlos eighteen-year-old son who was just beginning his career in business, chose to dedicate himslef exclusively to rebuilding the Vistosi name, counting on the prestige and the tradition represented by the Murano name, and on the capacity of the family furnace, which served the glass demand of a vast territory. Over the following two years, Vetrofond increased its own production activity, as it acquired the quasi-totality of production for Artemides creations.
Prepared over a period of five years, in 1995 the revitalizations of the name Vistosi and the philosophy which underscored its greatest successes finally took shape in the presentation of new product lines. Heavy investments were made towards the acquisitions of important lighting companies such as Alox, G2 and Triade, whose products have been inserted in the Punto Luce and Vistosi catalogues and furnaces such as La Morrisa later merged into the aggregate structure of Vetrofond. The company, thus reinforced, was also reorganized from the base in terms of strategy and production, giving it a more industrial configuration. These are the years in which the company renews its collaborations with Vico Magistretti and Angelo Mangiarotti and contacts succesful young designers such as Gianpaolo Canova, Alfredo Chiaromonte and Marco Marin, Oriano Favaretto, Mauro Olivieri and Giovanni Barbato.
The 1996 edition of Euroluce in Milan brings renewed market success as Vistosi presents, thanks to the intuition of Gianluca Zornetta, trading manager for Italy, new trademark Applicando, its dedicated the contract sector, a move designed to reach a heretofore untapped clientele with a wider range of products. After the new catalog was printed in 1998, the company worked at the merger of Punto Luce and Applicando in view of Euroluce 2001, consolidating the Italian market with its strong presence in over 130 Italian retail stores, all considered trustworthy partners, and its presence in over 60 countries all over the world.
Designers involved: Alfredo Chiaramonte & Marco Marin, Gianni Rigo, Mauro Olivieri, Manuel Vivian.