Carlo Carra' Artwork valuations, appraisals and auction estimates

Carlo Carrà (Quargnento, 1881 – Milan, 1966) was an Italian painter. Of humble origins, the inclination towards painting manifested itself when Milan began to apply it to industry at the École des Beaux-Arts. Read the full biography

Carlo Carra' Biography

Carlo Carrà (Quargnento, 1881 – Milan, 1966) was an Italian painter. Of humble origins, the inclination towards painting manifested itself when Milan began to apply it to industry at the École des Beaux-Arts. Trips to London and Paris (1900-05), acquaintance with the masters, closeness to anarchist circles, desire for social revenge: all characteristics of these years, which culminated with admission to the Brera Academy. It was here that he met Boccioni, who above all energized his brief season of pointillism. In a climate of rebellion against the regionalism of Italian art, Carla - together with Boccioni, Marinetti and Russolo - drew up a manifesto (1909) for young artists urging them to adopt a new expressive language. Thus was born the "Manifesto of Futurist Painting" which Severini and Barra immediately followed. The magazine Lacerba, with which he collaborates, becomes his face: his paintings, expressed in moving images, aim to restore the sense of movement and to dispel the laws of gravity of objects through colour. The separation occurred in 1916: a more structured and linear commitment to reality; above all, a painful war experience that definitively distanced him from the futuristic ideology of anarchism. During his hospitalization in Ferrara he met De Chirico, Savinho and Depicis, with whom he defined the theoretical principles of metaphysics (1917): his figures soon took on the famous Eternal Sex, identified by simple masses immersed in a fixed poetic atmosphere. In recent years with the Roman magazine Valori Plastici. Finally, he also abandons metaphysics (1922) driven by the search for the relationship between nature and human being, which means "full identification", guaranteed only by the restoration of the figurative language of Giotto and Masaccio.

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