Carlo Carra Biography | Oil Painting Reproductions

2-11-1881 Quargnento, ITA –4-13-1966 Milan, ITA

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Carra, Carlo

Carlo Carra at the age of twelve worked as a mural decorator, and in 1906, he enrolled at the Accademia di Brera in Milan, where he studied under Cesare Tallone. His work of this time revealed the influence of Italian Divisionism, combined with the nineteenth-century Lombard Naturalism.

Carlo Carra 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. In 1913, he painted The Red Horseman, this figure in motion has been dynamically decomposed like a sequence of movie frames. Carra threw himself into the Futurist experience, later becoming one of the founders of the Metaphysical Painting movement.

With Ardengo Soffici, Carlo Carrà contributed to the Futurist periodical Lacerba. In 1914, Carrà was back in Paris where he met Apollinaire and Picasso. By 1916, Carrà had rejected many of the nihilistic premises of Futurism.

Metaphysical Painting emerged from a chance meeting during World War I in a military hospital in Ferrera, where De Chirico, Savinio, Carra and De Pisis were all patients at the same time. The meeting led to the development of an artistic and intellectual movement, that sought to represent stillness as opposed to the dynamic movement 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.

The Oval Of The Apparitions, the mannequin, a recurring figure in Metaphysical painting as well as in the surrealist literature, gives the idea of human presence, but as a soulless, mechanical form, incapable of motion or human expression. In 1918, Carrà, de Chirico, and his brother Alberto Savinio joined the magazine Valori Plastici. The following year, he published his book Pittura Mmetafisica, which celebrated the transcendent properties of pure form and commonplace objects.

Carlo 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-centuryImpressionist Naturalism. In the 1920s, he participated in the two exhibitions of the Novecento Italian 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.

Art Movement History: Futurism
Artists Influencing Carlo Carra: Cesare Tallone, Giorgio de Chirico
He Traveled To France, England
From Wikipedia

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