Leaving the Theatre, c. 1910
Oil on canvas, Private collection, London.
Interventionist Demonstration (Patriotic Holiday-Freeword Painting)
(Manifestazione interventista [Festa patriottica-dipinto parolibero]), 1914
Tempera, pen, mica powder, paper glued on cardboard, 38.5 x 30 cm
Gianni Mattioli Collection
(Manifestazione interventista [Festa patriottica-dipinto parolibero]), 1914
Tempera, pen, mica powder, paper glued on cardboard, 38.5 x 30 cm
Gianni Mattioli Collection
Omaggio a Betuda Futurista, 1915
Newspaper collage, gouache andn ink on card , 34 x 24 cm
La Musa Metafisica, 1917
Oil on canvas, 90 x 66 cm.
Collezione Jesi. Milano. Italia
A Pine by the Sea, 1921
1921. 68 x 52.5 cm. Collezione Casella. Roma. Italia.
The Red House, 1927
91 x 78,5 cm
Museo Nacional de Bellas Artes, Buenos Aires, Argentina
El Faro, 1928.
77 x 90 cm. Národní Galerie. Praga.
Carlo Carrà, c. 1946-62
by Stanford H. Roth
Carrà was born in Piedmont and followed in his father’s footsteps as a decorator and muralist, moving to Milan in 1895, where he later met Umberto Boccioni at the Brera Academy. Together with Boccioni and Luigi Russolo he drafted the Manifesto of the Futurist Painters and the Technical Manifesto of Futurist Painting (both 1910), issuing his own manifesto The Painting of Sounds, Noises and Smells in 1913. He also developed a lifelong friendship with Soffici, travelling with him to Paris in 1914, where he was inspired to experiment with Cubism and Primitivism.
With Giorgio de Chirico he formed the short-lived Scuola metafisica in 1917, creating works depicting enigmatic interiors and city squares. These prepared the way for the consciously naïve figurative style he evolved after his break with de Chirico, and throughout the 1920s he adopted a naturalistic approach that remained unchanged until his death.
