Carlo Carrà | |
|---|---|
.jpg) Carrà in front ofLe Figaro, Paris in 1912 | |
| Born | (1881-02-11)February 11, 1881 Quargnento,Alessandria, Kingdom of Italy |
| Died | April 13, 1966(1966-04-13) (aged 85) Milan, Italy |
| Known for | Painting |
| Movement | |
Carlo Carrà (Italian:[ˈkarlokarˈra]; February 11, 1881 – April 13, 1966) was an Italian painter and a leading figure of theFuturist movement that flourished in Italy during the beginning of the 20th century. In addition to his many paintings, he wrote a number of books concerning art. He taught for many years in the city ofMilan.
Carrà was born inQuargnento, acomune just northwest ofAlessandria, Italy (Piedmont). At the age of 12 he left home in order to work as amural decorator.
In 1899–1900, Carrà was inParis decorating pavilions at theExposition Universelle, where he became acquainted with contemporary French art. He then spent a few months inLondon in contact with exiled Italiananarchists, and returned to Milan in 1901. In 1906, he enrolled atBrera Academy (Accademia di Brera) in the city, and studied underCesare Tallone. In 1910 he signed, along withUmberto Boccioni,Luigi Russolo, andGiacomo Balla theManifesto of Futurist Painters, and began a phase of painting that became his most popular and influential.
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Carrà's Futurist phase ended around the timeWorld War I began. His work, while still using some Futurist concepts, began to deal more clearly with form and stillness, rather than motion and feeling. In his 1913 manifesto, "The Painting of Sounds, Noises and Smells," Carrà discussed his interest insynaesthesia, describing it as "being a perceptual phenomenon that relates to the idea that exposure to one external stimulus (say, sound or smell), induces a parallel visualization (say, color)."[1]
Inspired byTrecento painting, children's art, and the work ofHenri Rousseau, Carrà soon began creatingstill lifes in a simplified style that emphasized the reality of ordinary objects.[2] In 1917 he metGiorgio de Chirico in Ferrara, and worked with him there for several weeks. Influenced by de Chirico, Carrà began includingmannequin imagery in his paintings.[3] The two artists were the innovators of a style they called "metaphysical painting". By 1919, Carrà's metaphysical phase was giving way to an archaicism inspired by the works ofGiotto, whom he admired as "the artist whose forms are closest to our manner of conceiving the construction of bodies in space".[4] Carrà's paintingThe Daughters of Lot (1919) exemplifies the new direction of his work. He was among the contributors of the Rome-based literary magazineLa Ronda between 1919 and 1922.[5] Throughout the 1920s and 1930s, he concentrated mainly on landscape painting and developed a more atmospheric style.[6] An example from this period is his 1928Morning by the Sea.
Carrà is best known for his 1911 Futurist work,The Funeral of the Anarchist Galli. He was indeed an anarchist as a young man but, along with many other Futurists, later held morereactionary political views, becomingultranationalist andirredentist before and during the war. He supportedfascism after 1918. In the 1930s, Carrà signed a manifesto in which called for support of the state ideology through art.[7] TheStrapaese group he joined, founded byGiorgio Morandi, was strongly influenced by fascism and responded to theNeo-classical guidelines which had been set by the regime after 1937,[8] but was opposed to the ideological drive towards strongcentralism.[9]
Carrà died inMilan, Italy on April 13, 1966 at age 85.
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