Carlo Carrà
(
Quargento
1881 -
Milano
1966 )
Busto di manichino nella stanza, 1917
Pencil, ink and lavis on paper 135 x 105 mm Signed c. Carrà at the bottom right and dated 1917 bottom right
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With certificate of Professor Massimo Carrà
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Provenance:
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Giovanni Salmatoris, Milaan
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Exhibitions:
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Cherasco, Palazzo Salmatoris, Carlo Carrà, la natura come sogno, 2008 Knokke, Gallery Ronny Van de Velde, The Mind of the Artist, 2013 Drachten, Museum DR8888, Holland DADA, 2016 Brescia, Santa Giulia Museum, DADA 1916 La Nascita dell’Antiarte, 2016-2017 Mostra DADA, 2016 Knokke, Gallery Ronny Van de Velde, Dada in Knokke, 2016
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Literature:
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Città di Cherasco, Carlo Carrà, la natura come sogno, 2008, cat. p. 78 ill. J. Ceuleers, The Mind of the Artist, Knokke, Gallery Ronny Van de Velde, nr. 58 Museum DR8888, Drachten, Holland DADA, 2016, nr. 9 p.16 ill. Elena Di Raddo, e.a., DADA 1916 La Nascita dell’Antiarte, Brescia, Museo di Santa Giulia, 2016-2017, p. 82 ill. Xavier Canonne, Dada in Knokke, Knokke, Gallery Ronny Van de Velde, 2016, pp.52-53
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Artist Biography:
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Carlo Carrà was a leading figure of Futurist painting. He was more influenced by the Cubism he encountered when in Paris in 1911, than by the concepts and writings of Marinetti. On returning home from this visit he re-works his painting Funeral of the Anarchist Galli (1911), whose first version was still beholden to neo-impressionism. It is now considered as one of the most successful works of Futurism’s early phase. – In Natura morta, following the Cubist model, he has the central point-of-view wander, with the choice of a backing surface of newspaper referring to their papiers collés. But the attempt of placing the viewer in the middle of the drawing and, paradoxically enough, bringing movement to the still-life – the air currents set in motion with the lifting and setting down of glasses, perhaps nearly falling, from the café table – links with the Futurist aim of visually representing modernity’s fundamental dynamic. And by covering portions of the printed text, remaining combinations of words are revealed that defy the laws of grammar, as with Marinetti’s parole in libertà. They are set to dance like the glasses, jumping hither and thither, while when petrified in print they were a mere bland, flavorless expression of an everaccelerating reality: ‘vif l’étendue … et soudain …aucune douleur …se met brusquement …le petit tremblement …’
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