Background
Carlo Carrà was born on February 11, 1881, in Quargnento, Province of Alessandria, Piedmont, Italy.
Milan, Italy
Carlo Carra studied at Brera Academy.
(The subject of the work is the funeral of Italian anarchi...)
The subject of the work is the funeral of Italian anarchist Angelo Galli, killed by police during a general strike in 1904. The Italian State feared that the funeral would become a de facto political demonstration and refused the mourning anarchists entrance into the cemetery itself. When anarchists resisted, the police responded with force and a violent scuffle ensued. His work embodies the tension and chaos of the scene: the movement of the bodies, the clashing of anarchists and police, the black flags flying in the air.
1911
Carlo Carrà was born on February 11, 1881, in Quargnento, Province of Alessandria, Piedmont, Italy.
At the age of twelve, Carlo Carrà worked as a mural decorator. In 1899 – 1900, he was in Paris decorating pavilions at the Exposition Universelle, where he became acquainted with contemporary French art. He then spent a few months in London in contact with exiled Italian anarchists, and returned to Milan in 1901. In 1906, Carlo Carrà enrolled at the Brera Academy (Accademia di Brera) there and studied under Cesare Tallone.
Carlo Carrà met Boccioni and Russolo in 1908 with whom he signed the Manifesto of Futurist Painters, and the Technical Manifesto of Futurist Painting. His radical political and artistic interests were combined in the monumental painting Funeral of the Anarchist Galli, which he reworked after a trip to Paris in the fall of 1911, when he came into direct contact with Cubism. With Ardengo Soffici, he contributed to the Futurist periodical Lacerba.
In 1914, Carrà came back in Paris where he met Apollinaire and Picasso. At that time, he started to work in the medium of collage and words-in-freedom, and endorsed the Italian Interventionist movement in his book Guerrapittura of 1915. By 1916, Carrà had rejected many of the nihilistic premises of Futurism. In 1917, he met Giorgio de Chirico in Ferrara and adapted his metaphysical iconography and compositional techniques to a series of still lifes and interiors.
In 1918, Carrà, de Chirico, and his brother Alberto Savinio joined the magazine Valori Plastici. The following year, he published his book Pittura metafisica, which celebrated the transcendent properties of pure form and commonplace objects.
Carrà theoretical position, grounded in a post-war "return to order," signaled his break with the classicism of de Chirico. After a short-lived phase of Magic Realism, by the mid-twenties, Carrà had evolved his mature style that combined archaizing figures with an atmospheric brushwork, redolent of nineteenth-century Impressionist Naturalism. In the 1920s, he participated in the two exhibitions of the Novecento italiano, and signed Mario Sironi's Manifesto of Mural Painting in 1933. In 1941 he was appointed a professor of painting at the Accademia di Brera. In 1945 he published his autobiography La mia vita.
(Autobiography)
The Funeral of the Anarchist Galli
(The subject of the work is the funeral of Italian anarchi...)
1911Foce del Cinquale
1928Il mulino di Sant'Anna
1921The Red Horseman
1913Fiasco e Bicchiere
Armtrain
Concert Cafe
1912Western Horseman
1917La casa dell'amore
1922Omaggio a Betuda Futurista
1915San-Giacomo-di-Varallo
1924Pursuit
1915Lagoon
1932La Musa Metafisica
1917Partita di calcio
Natura morta
Interior
1924L'attesa
1926Pioggia al mare
Pagliai
Costruttori
The Tram
Pescatori
1935Giustiniano libera lo schiavo
La composizione TA
1916The Enchanted Chamber
1917I Romantici
Swimmers
Still Life with Syphon Soda Water
1914Natura morta con la squadra
1917Piazza Del Duomo
Ritratto di Papini
1913L'attrice futurista
1915Woman on the Balcony
1912Il Figlio del Costruttore
1921Fiumetto
1941I nuotatori
1932Autunno. Ritratto di Emilio Colombo
1909Donna sulla spiaggia
The Horsemen of the Apocalypse
1908L'ovale delle apparizioni
1918The Drunken Gentleman
1916Le figlie di Loth
1919Giudizio Universale
1938Portrait Of Marinetti
Paesaggio
1904Still Life
1944Il pescatore
Galleria In Milan
L'idolo ermafrodita
1917La casa abbandonata
1930Stazione a Milano
1909Meriggio
1927Leaving the Theatre
1910Paesaggio
1909El Faro
1928The Red House
1927Night At Piazza Beccaria In Milan
Untitled
Madre e figlio
1917Il fiasco
1915Composizione con figura femminile
1915Lo squero di San Trovaso
1938Vele nel porto
Il Fanciullo Prodigio
1914A Pine by the Sea
1921Quirinal Stables
Interventionist Demonstration (Patriotic Holiday-Freeword Painting) 1914
1914Jolts of a Cab
1911La strada di casa
1900Ritmi di oggetti
1911Venere anadiomene II
1944The Engineer's Lover
1921Il bersaglio
1928Ritmi Plastici
1911Le acciughe
1948