Saturday, August 4, 2007
Carlo Carra (1881-1966)
We Futurists therefore claim that in bringing the elements of sound, noise and smell to painting we are opening fresh paths. We have already taught artists to love our essentially dynamic modern life with its sounds, noises and smells, thereby destroying the stupid passion for values which are solemn, academic, serene, hieratic and mummified: everything purely intellectual, in fact. Imagination without strings, words-in-freedom, the systematic use of onomatopoeia, antigraceful music without rhythmic quadrature, and the art of noises —these were created by the same Futurist sensibility that has given birth to the painting of sounds, noises and smells.
It is indisputably true that (1) silence is static and sounds, noises and smells are dynamic; (2) sounds, noises and smells are nothing but different forms and intensities of vibration; and (3) any succession of sounds, noises and smells impresses on the mind an arabesque of form and color. We must measure this intensity and perceive these arabesques. - from The Painting of Sounds, Noises and Smells by Carlo Carra
Please browse our Amazon list of titles about Carlo Carra. For rare and hard to find works we recommend our Alibris list of titles about Carlo Carra.
Powerpoint: The Road to Expressionism
COPAC UK: Carlo Carra
Born at Quargnento, Italy in 1881, the self taught Carlo Carra became involved in the Futurist movement in 1910, along with Boccioni, Balla and Severini. He co-signed the Manifesto of Futurist Painters and the Technical Manifesto of Futurist Painting. Carra 's paintings explore the full vocabulary of Futurism. In 1917 he met the painter Giorgio de Chirico. Together they developed Pittura Metaphysica (Metaphysical Painting). Carra is best known now for his work in this style. For many years Carra taught at the Milan Academy. He died in Milan.
Books from Alibris: Carlo Carra