Carlos Carra Essay

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Carlo Carra Carlo Carrà (February 11, 1881 – April 13, 1966) was an Italian painter, critic and writer. In addition to his many paintings, he wrote a number of books concerning art and he taught for many years in the city of Milan. He met Umberto Boccioni and Luigi Russolo, and together they came to know Filippo Tommaso Marinetti and to write the Manifesto of Futurist Painters, and began a phase of painting that became his most popular and influential. In his works he attempted to make the space more complex and the lighting appear to emerge from within. He also uses The Paris trip also established personal contacts, with Guillaume Apollinaire, Amedeo Modigliani and Picasso. Carrà returned in 1912 and 1914, punctuated by a year of collaboration with Giovanni Papini’s and Ardegno Soffici’s Florentine periodical Lacerba. Soffici’s close association with Paris may have reinforced Carrà’s intense investigation of Cubism and encouraged him to reconsider the structure of his paintings, leading him to explore collage. In the Interventionist Demonstration(1914; Milan, G. Mattioli priv. col., see M. Carrà, 1967–8, i, p. 259) he combined collage with Marinetti’s words-in-freedom and Apollinaire’s ideograms, creating one of the most memorable Futurist images. Carrà’s disillusionment with Futurist aims and his intensifying rivalry with Boccioni became apparent from 1915 in paintings that concentrated on the human figure. They owed something to African sculpture and culminated in the Antigrazioso of 1916 (priv. col., see M. Carrà, 1967–8, i, p. 303), in which an awkward figure with a huge head stands on a chequered floor next to a trumpet; in the background a house floats on an ochre ground. These four elements struggle between independence and interdependence, and their lumpy solidity is reminiscent of Giotto’s work, rather than employing Futurist dynamics. Carrà had been

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