{"id":18451,"date":"2022-12-22T17:35:54","date_gmt":"2022-12-22T16:35:54","guid":{"rendered":"https:\/\/mucciaccia.com\/?p=18451"},"modified":"2025-11-09T12:27:24","modified_gmt":"2025-11-09T11:27:24","slug":"carlo-carra","status":"publish","type":"post","link":"https:\/\/mucciaccia.com\/en\/carlo-carra\/","title":{"rendered":"Carlo Carr\u00e0"},"content":{"rendered":"

[et_pb_section fb_built=”1″ admin_label=”Artist new head” _builder_version=”4.19.2″ _module_preset=”default” custom_margin=”0px||||false|false” custom_padding=”0px||40px||false|false” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ module_id=”overview” _builder_version=”4.19.1″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.2″ _dynamic_attributes=”content” _module_preset=”default” header_font=”|||on|||||” header_font_size=”26px” custom_margin=”0px||0px||false|false” custom_padding=”0px|20px|0px||false|false” custom_css_main_element=”display: inline-block;” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF90aXRsZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IjxoMT4iLCJhZnRlciI6IjwvaDE+In19@[\/et_pb_text][et_pb_text _builder_version=”4.19.1″ _dynamic_attributes=”content” _module_preset=”default” module_alignment=”left” custom_margin=”0px||0px||false|false” custom_padding=”0px|4px|0px|4px|false|false” custom_css_main_element=”display: inline-block;” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfbmF0aW9uYWxpdHkiLCJzZXR0aW5ncyI6eyJiZWZvcmUiOiIiLCJhZnRlciI6IiIsImVuYWJsZV9odG1sIjoib2ZmIn19@[\/et_pb_text][et_pb_text _builder_version=”4.19.1″ _dynamic_attributes=”content” _module_preset=”default” module_alignment=”left” custom_margin=”0px||0px||false|false” custom_padding=”0px|4px|0px|4px|false|false” custom_css_main_element=”display: inline-block;” global_colors_info=”{}”]@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoiY3VzdG9tX21ldGFfZGF0ZSIsInNldHRpbmdzIjp7ImJlZm9yZSI6IiIsImFmdGVyIjoiIiwiZW5hYmxlX2h0bWwiOiJvZmYifX0=@[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.19.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text disabled_on=”on|on|on” _builder_version=”4.24.2″ _module_preset=”default” text_text_color=”#000000″ text_font_size=”12px” text_letter_spacing=”2px” link_text_color=”#939393″ text_orientation=”center” text_text_color_tablet=”#000000″ text_text_color_phone=”#000000″ text_text_color_last_edited=”on|desktop” text_letter_spacing_tablet=”2px” text_letter_spacing_phone=”0px” text_letter_spacing_last_edited=”on|desktop” link_font_tablet=”” link_font_phone=”” link_font_last_edited=”on|desktop” disabled=”on” global_colors_info=”{}”]<\/p>\n

OVERVIEW<\/a>\u00a0 \u00a0WORKS<\/a>\u00a0 \u00a0EXHIBITIONS<\/a>\u00a0 \u00a0PUBLICATIONS<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.19.2″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” gutter_width=”1″ _builder_version=”4.19.2″ _module_preset=”default” width=”100%” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.19.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_text_color=”#999999″ text_line_height=”2.2em” custom_padding=”||40px||false|false” custom_padding_tablet=”||40px||false|false” custom_padding_phone=”||40px||false|false” custom_padding_last_edited=”on|desktop” hover_enabled=”0″ text_font_size_tablet=”” text_font_size_phone=”14px” text_font_size_last_edited=”on|phone” text_line_height_tablet=”2.2em” text_line_height_phone=”1.4em” text_line_height_last_edited=”on|phone” global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n

The artistic evolution of Carlo Carr\u00e0 perfectly embodies and illustrates the history of Italian art from the first half of the 20th century.<\/p>\n

Carlo Dalmazio Carr\u00e0 began studying art at the young age of twelve, embarking on his first artistic career as a decorator in Valenza between 1904 and 1905.<\/p>\n

In 1900, he travelled to Paris to decorate the pavilions of the International Exhibition. This opportunity allowed him to study the painters of the Grande Ecole Fran\u00e7aise of the 19th century and Impressionism.<\/p>\n

Following this Parisian trip, he went to London, where he studied the work of artists such as Turner and Constable, being greatly amazed by their use of light in their work.<\/p>\n

In 1906, he entered the Brera Academy in Milan, where he met Boccioni and Bonzaghi. After a brief pointillist experience, which he approached due to his political and somewhat anarchic interests, he immersed himself in the modernist atmosphere of his Milanese friends and in 1909 signed the ‘Futurist Manifesto’ with Marinetti and Russolo.<\/p>\n

Futurism is Carr\u00e0’s first major artistic period. His research into dynamism and colour theory resulted in his masterpieces such as The Funeral of the Anarchist Galli in 1911, Woman on the Balcony in 1912, Plastic Transcendences in 1912<\/p>\n

In 1916, just after the end of the First World War, his meeting in Ferrara with de Chirico and De Pisis led him to abandon Futurism and approach Metaphysical poetics. It was with these two artists that he established the theoretical principles of Metaphysical painting.<\/p>\n

After a style initially influenced by that of De Chirico, he developed a very personal language with solitary and suspended atmospheres. Perfect examples of this new language are the paintings Mother and Child (1917), The Engineer’s Lover (1921) and The Pine Tree by the Sea (1921). This change led him to approach 14th- and 15th-century art, with references to Giotto and Masaccio.<\/p>\n

From 1918, he began writing for the magazine ‘Valori Plastici’, so it is not surprising that in 1920 he began to paint according to the strict terms of the Novecento Italiano, also taking part in the 1926 and 1929 exhibitions at the Palazzo della Permanente in Milan.<\/p>\n

Carr\u00e0 continued to paint frantically until his death in 1966 in Milan following an illness.<\/p>\n

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WORKS<\/h2>\n

[\/et_pb_text][et_pb_divider color=”#c9c9c9″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ disabled_on=”on|on|on” _builder_version=”4.19.4″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” disabled=”on” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”0px||||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/mucciaccia.com\/wp-content\/uploads\/2017\/01\/Balla_Figura-sdraiataspazio1918ca.jpg” alt=”Giacomo Balla, Figura – sdraiata + spazio, 1918ca, pencil on tissue paper lying on canvas, 34.8×51.4 cm” title_text=”Giacomo Balla, Figura – sdraiata + spazio, 1918ca, pencil on tissue paper lying on canvas, 34.8×51.4 cm” show_in_lightbox=”on” use_overlay=”on” overlay_icon_color=”RGBA(255,255,255,0)” hover_overlay_color=”rgba(0,0,0,0.27)” align=”center” _builder_version=”4.16″ _module_preset=”default” module_alignment=”center” height=”220px” custom_margin=”0px||||false|false” custom_padding=”0px||||false|false” scroll_fade_enable=”on” motion_trigger_start=”top” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.16″ _module_preset=”default” text_font_size=”9px” text_orientation=”center” custom_margin=”-10px||||false|false” custom_padding=”0px||||false|false” global_colors_info=”{}”]<\/p>\n

Giacomo Balla, Figura – sdraiata + spazio<\/em>, 1918ca, pencil on tissue paper lying on canvas, 34.8×51.4 cm<\/p>\n

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EXHIBITIONS<\/h2>\n

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STORYBOARDS | INTERNI E VEDUTE<\/h4>\n

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09 March \u2013 12 May 2018<\/p>\n

ROME<\/h6>\n

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PUBLICATIONS<\/h2>\n

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PIZZI CANNELLA, En plein air<\/h4>\n

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Exhibition Catalogue
Curated by Archivio Pizzi Cannella and Galleria Mucciaccia
Essay by Franco Rella
Published by Carlo Cambi Editore, 2019.<\/p>\n

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Piero Pizzi Cannella \u2013 Exhibition Catalogue<\/h4>\n

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Exhibition Catalogue,\u00a0
published by Carlo Cambi Editore
2014<\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.2″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.19.2″ _module_preset=”default” custom_padding=”||80px||false|false” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ _module_preset=”default” locked=”off” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#c9c9c9″ _builder_version=”4.16″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_text module_class=”hyperlink-color-image” _builder_version=”4.19.2″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

Artists Index<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

OVERVIEW\u00a0 \u00a0WORKS\u00a0 \u00a0EXHIBITIONS\u00a0 \u00a0PUBLICATIONSThe artistic evolution of Carlo Carr\u00e0 perfectly embodies and illustrates the history of Italian art from the first half of the 20th century. Carlo Dalmazio Carr\u00e0 began studying art at the young age of twelve, embarking on his first artistic career as a decorator in Valenza between 1904 and 1905. In 1900, […]<\/p>\n","protected":false},"author":8,"featured_media":18456,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"Alexander Calder was born in 1898, the second son in a family of artists: his father was a sculptor, his mother a painter. His parents encouraged him to be creative, and from the age of eight Alexander always had his own studio wherever the family lived. At Christmas 1909 he gave his parents two of his first works: a small dog and a duck made by cutting out and shaping a sheet of brass; the duck is a kinetic sculpture, with a tap it swings back and forth. He was only eleven years old, but his ease in handling materials was evident.\r\n\r\nAlthough he was so gifted, the young man did not immediately embark on an artistic career. For several years, he worked in a wide variety of jobs: as a hydraulic engineer and in the automobile industry, as a time supervisor in a logging and timber yard, and as a stoker in the boiler room of a ship.\r\n\r\nIn 1923 Calder moved to New York and enrolled in the Art Students League, an unconventional art school. In addition, the National Police Gazette hired him as a draftsman, and in 1925 commissioned him to follow the Ringling Brothers and Barnum & Bailey circuses for a fortnight, illustrating their performances in a series of sketches. The sculptor would never abandon his interest in the circus; after moving to Paris in 1926, he created the Cirque Calder [Calder Circus], a complex and unrepeatable work created as an assemblage of tiny performers, animals, and props similar to those used by the Ringling Brothers, made of wire, leather, cloth, and various recycled materials. Calder had designed it in such a way that it could be manoeuvred by hand; each piece was small enough to fit into a large trunk, which the artist carried with him, thus being able to put on a show wherever he went. The first one took place in Paris in front of an audience of friends and colleagues and was followed by a series of performances, in Paris as well as in New York, which were very successful.\r\n\r\nThe artist discovered that he liked to work with wire for his circus, and soon began to carve sculptures from this material in which he portrayed friends and prominent figures of the time. In 1928, when the fame of his inventive faculties had begun to spread, the Weyhe Gallery in New York presented him with a first solo exhibition, soon followed by other exhibitions, again in New York and then in Paris and Berlin. As a result, Calder spent a lot of time travelling on ocean liners between Europe and America, and it was during one of these crossings that he met Louisa James (the writer Henry James was his great-uncle), to whom he married in January 1931. At the same time, the sculptor made friends with many artists and intellectuals who had become famous in the early 20th century: Joan Mir\u00f3, Fernand L\u00e9ger, James Johnson Sweeney, Marcel Duchamp. In October 1930, while visiting Piet Mondrian's Parisian studio, Calder was deeply impressed by a wall completely strewn with coloured cardboard rectangles, which the painter continuously moved for his compositional experiments. As the artist recounted in later years, the episode had \"shocked\" him, orienting him definitively towards total abstractionism. During the three weeks after being in Mondrian's studio, he devoted himself exclusively to abstract paintings, but this only served to make him realise that his preference was in fact for sculpture. Shortly afterwards he was invited to join Abstraction-Cr\u00e9ation [Abstraction-Creation], an influential group of artists (including Arp, Mondrian, H\u00e9lion) with whom he had become friends.\r\n\r\nThe autumn of 1931 marked an important turning point in his creative journey: Calder created his first true kinetic sculpture, giving rise to an entirely new artistic genre. For the first object of this kind, made mobile by a system of cranks and motors, Marcel Duchamp found the term 'mobile', a French word comparable to the Italian 'movente', which contains an allusion to motion but also to motivation. Shortly afterwards, the sculptor would renounce the mechanical aspects of these works, realising that he could make mobiles capable of oscillating by themselves thanks to air currents. To distinguish Calder's non-kinetic works from the others, the fixed objects, Jean Arp christened them 'stabiles'.\r\n\r\nIn 1933, the Calders left France and returned to the United States, where they purchased an old farmhouse in Roxbury, Connecticut, to which was attached a room that had once been used as an icehouse: this, renovated, became the artist's studio. During the 1930s the artist also designed sets for Martha Graham's and Eric Satie's ballets and continued to present Cirque Calder shows.\r\n\r\nIn the same decade Calder also began to try his hand at large-scale outdoor sculptures. In 1937 he created his first large-scale building (an enlarged version of an earlier building), bolted together and made entirely of metal sheets, to which he gave the title Devil Fish. The work was presented by the Pierre Matisse Gallery in the exhibition Stabiles and Mobiles, which also featured Big Bird, another large sculpture made from a smaller model. Shortly afterwards Calder was commissioned to execute Mercury Fountain for the Spanish pavilion at the Paris World's Fair (a work that symbolised the resistance to fascism by Spanish republicans) and Lobster Trap and Fish Tail, a large piece of furniture placed in the main stairwell of the Museum of Modern Art in New York.\r\n\r\nWhen the United States entered the war, there was a shortage of metal materials, so Calder began to make increasing use of wood, leading to a further genre of original sculptures, which Sweeney and Duchamp called 'constellations.\r\n\r\nIn the 1940s and 1950s Calder had a considerable artistic productivity, which was inaugurated in 1939 with the first retrospective of his work at the George Walter Vincent Smith Gallery in Springfield, Massachusetts. In 1949, the artist created the largest piece of furniture he had ever made, International Mobile, to be presented in the Third International Sculpture Exhibition at the Museum of Art in Philadelphia. In 1950 the Galerie Maeght in Paris also presented an exhibition of his work, and later became his exclusive dealer in Paris, a relationship that was to last for twenty-six years until Calder's death in 1976. By the 1960s Calder was recognised worldwide as an artist of great talent. In 1964, the Guggenheim Museum in New York put on a retrospective exhibition of his work; five years later, the Maeght Foundation in Saint-Paul-de-Vence celebrated him in turn with a retrospective exhibition.\r\n\r\nIn 1976, the sculptor attended the opening of another retrospective, entitled Calder's Universe, at the Whitney Museum of American Art in New York. He passed away at the age of seventy-eight a few weeks later in New York.","_et_gb_content_width":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-18451","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-modern"],"acf":[],"_links":{"self":[{"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/posts\/18451","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/comments?post=18451"}],"version-history":[{"count":0,"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/posts\/18451\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/media\/18456"}],"wp:attachment":[{"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/media?parent=18451"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/categories?post=18451"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mucciaccia.com\/en\/wp-json\/wp\/v2\/tags?post=18451"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}