This is a period in which Murano glass gradually found space within the exhibition, first through the artists who chose to use this extraordinary material for their works, and then thanks to the opening of the Biennale to decorative arts, which until 1930 were welcomed in the various rooms of the Palazzo dell'Esposizione together with the so-called major arts. Only from 1932, with the construction of a new pavilion, glass and decorative arts in general found a dedicated space within the Gardens.

In the 1910s, the Biennale mainly presented glass created by artists, such as Hans Stoltenberg Lerche, a Norwegian sculptor and ceramist, who introduced innovative glass from 1912 to 1920 with the hot application of filaments and polychrome powders; the Murano decorator Vittorio Toso Borella (1912-1914) with his enamels; the painters Vittorio Zecchin and Teodoro Wolf Ferrari who presented works with murrine in 1914; and the wrought iron artist Umberto Bellotto (1914-1924) with his interesting combinations of iron and glass, often enriched with murrine inserts. To create their works, these artists also collaborated with glassworks such as Fratelli Toso or Artisti Barovier. 

The glass presented at the Biennale during this period, therefore, represented an extraordinary attempt to propose a new language, with a focus on research from beyond the Alps.