Carlo Carrãƒâ Il Ciclista Museum of Modern Art

Italian painter (1881–1966)

Carlo Carrà
Carrà in forepart of Le Figaro, Paris, February nine, 1912
Born	(1881-02-xi)Feb 11, 1881 Quargnento, Italy
Died	Apr 13, 1966(1966-04-13) (aged 85) Milan, Italian republic
Known for	Painting
Movement	Futurism, Metaphysical art

Carlo Carrà (Italian: [ˈkarlo karˈra]; February 11, 1881 – April thirteen, 1966) was an Italian painter and a leading effigy of the Futurist movement that flourished in Italia during the beginning of the 20th century. In addition to his many paintings, he wrote a number of books apropos art. He taught for many years in the city of Milan.

Biography [edit]

Carrà was built-in in Quargnento, about Alessandria (Piedmont). At the age of 12 he left habitation in order to piece of work as a mural decorator.

In 1899–1900, Carrà 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, he enrolled at Brera Academy (Accademia di Brera) in the city, and studied under Cesare Tallone. In 1910 he signed, forth with Umberto Boccioni, Luigi Russolo and Giacomo Balla the Manifesto of Futurist Painters, and began a phase of painting that became his most pop and influential.

Carlo Carrà, 1912, Woman on the Balustrade, (Simultaneità, La donna al balcone), Collezione R. Jucker, Milan, Italy

Carrà's Futurist phase ended around the time Earth War I began. His work, while still using some Futurist concepts, began to deal more than clearly with class and stillness, rather than motion and feeling. Inspired past Trecento painting, children's fine art, and the work of Henri Rousseau, Carrà presently began creating still lifes in a simplified style that emphasized the reality of ordinary objects.^[1] In 1917 he met Giorgio de Chirico in Ferrara, and worked with him at that place for several weeks. Influenced by de Chirico, Carrà began including mannequin imagery in his paintings.^[ii] The two artists were the innovators of a fashion they chosen "metaphysical painting". By 1919, Carrà's metaphysical phase was giving mode to an archaicism inspired by the works of Giotto, whom he admired as "the artist whose forms are closest to our manner of conceiving the construction of bodies in infinite."^[three] Carrà'due south painting The Daughters of Lot (1919) exemplifies the new direction of his work. Throughout the 1920s and 1930s, he concentrated mainly on landscape painting and developed a more atmospheric style.^[iv] An example from this period is his 1928 Morning time past the Body of water.

He is best known for his 1911 Futurist piece of work, The Funeral of the Anarchist Galli. Carrà was indeed an anarchist as a immature man but, along with many other Futurists, afterwards held more reactionary political views, becoming ultranationalist and irredentist before and during the war. He supported fascism afterwards 1918. In the 1930s, Carrà signed a manifesto in which called for back up of the state credo through art.^[5] The Strapaese group he joined, founded past Giorgio Morandi, was strongly influenced by fascism and responded to the neo-classical guidelines which had been set by the government later on 1937,^[6] just was opposed to the ideological drive towards strong centralism.^[7]

Carrà died in Milan in 1966.

Selected works [edit]

• The Funeral of the Agitator Galli (1911)
• The Enchanted Chamber (1917)
• The Metaphysical Muse (1917)
• The Daughter of the W (1919)
• The Engineer's Lover (1921)
• Canale a Venezia (1926)^[eight]

• 

• 

  1917, Il cavaliere dello spirito occidentale (Western Horseman), 52 10 67 cm, private collection

• 

References [edit]

1. ^ Cowling and Mundy pp. 52–53.
2. ^ Cowling and Mundy p. 52.
3. ^ Cowling and Mundy p. 56.
4. ^ Cowling and Mundy p. 57.
5. ^ Pinkus, p.20
6. ^ Antliff, p.2; Pugliese, p.sixteen
7. ^ Antliff, p.2
8. ^ "Dried Session". ti.ch.

Sources [edit]

• Carrà at the Peggy Guggenheim Collection Archived 2009-07-08 at the Wayback Machine
• Carrà at the Mart, Museo d'Arte Moderna due east Contemporanea di Trento due east Rovereto
• Mark Antliff, "Fascism, Modernism, and Modernity", in The Art Bulletin, March 2002
• Elizabeth Cowling and Jennifer Mundy, On Classic Footing: Picasso, Léger, de Chirico and the New Classicism 1910-1930, London:, Tate Gallery, 1990 ISBN 1-854-37043-Ten
• Karen Pinkus, Bodily Regimes: Advertizement under Italian Fascism, Minneapolis-Saint Paul, University of Minnesota Press, 1995 ISBN 0-8166-2563-viii
• Stanislao G. Pugliese, Italian Fascism and Anti-Fascism: A Critical Album, Manchester, Manchester University Printing, 2001 ISBN 0-7190-5639-X

External links [edit]

• X Dreams Galleries

turnerstor2001.blogspot.com

Source: https://en.wikipedia.org/wiki/Carlo_Carr%C3%A0

Share this post