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Carlo CarràAutograph Letter Signed by Carlo Carrà - 19381938
1938
About the Item
Autograph Letter Signed by Carlo Carrà to the Countess Anna Laetitia Pecci-Blunt. Milan, January 25th 1938. In Italian. On ivory colored paper and on letterhead "L'Ambrosiano / Giornale qutidiano". In perfect condition wiith the original envelope included. Completely readable.
From the editorial staff of the Italian journal "L'Ambrosiano", Carlo Carrà writes this thank-you letter to the Countess Anna Laetitia Pecci Blunt. For a short time the Countess and patron of art has just inaugurated a branch of the Cometa Gallery in New York, after the experience in Rome. In 1937, after a collective exhibition of Italian artists, it is the turn of the solo exhibition of Cagli, Mirko and Carrà .
In addition to technical details concerning an American sale of a Carrà's artwork, this autograph letter reveals the common intent of the Pecci Blunt and Carlo Carrà: enhance the Italian art in a international space. This was the mission before of the Cometa Gallery in Rome, and after of the Cometa Gallery in New York.
Carlo Carrà
(Quargnento, 11 February 1881 – Milan, 13 April 1966)
Carlo Carrà was an Italian painter and a leading figure of the Futurist movement. In addition to his many paintings, he wrote several books concerning art.
When he was twelve he was apprenticed to the local decorator. In 1899-1900 he went to Paris to decorate the pavilions for the Exposition Universelle, then he lived for six months among the anarchists in exile in London studying the works of Karl Marx and Michail Bakunin.
From 1904-1905 he followed a course of applied art at evening classes in Milan. In 1906 he enrolled at the Brera Academy, where he studied under Cesare Tallone with Arnoldo Bonzagni and Romolo Romani. In 1908 he became acquainted with Boccioni and Russolo. Then together with Severini and Balla they signed the Martinetti Futurist Painters Manifesto.
Following a journey to Paris in 1911, Carrà restyled the canvas to assimilate the fragmentation typical of Cubism. Due to the growing rivalry with Boccioni and the difference of opinions with Marinetti, Carrà separated from the Milan group and from 1913 started to work with Ardegno Soffici and Giovanni Papini on the “Lacerba” Futurist magazine in Florence. In 1914 he returned to Paris to sign a contract with the art gallery manager Daniel Henry Kahnweiler.
In 1917 he became acquainted with de Chirico and Savino, founding with them the School of Metaphysical painting. In 1921 he became an art critic for the daily newspaper “L’Ambrosiano”, an influential position which he held for seventeen years.
In 1941 he was nominated painting professor for the Brera Academy. In the after-war years Carrà gradually changed the landscapes and seascapes toning down the surfaces, with less compact brushwork and an accentuated brightness. In 1962, four years before his death an anthological exhibition of his works was arranged at the Palazzo Reale in Milan.
- Creator:Carlo Carrà (1881 - 1966, Italian)
- Creation Year:1938
- Dimensions:Height: 8.67 in (22 cm)Width: 5.52 in (14 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Insurance may be requested by customers as additional service, contact us for more information.
- Gallery Location:Roma, IT
- Reference Number:
Carlo Carrà
Carlo Carrà was an Italian painter and a leading figure of the Futurist movement that flourished in Italy during the beginning of the 20th century.
In addition to his many paintings, Carrà wrote several books concerning art. Lived through and participated in all the avant-garde art movements of the 20th century, from Futurism (the futurist phase lasted 4–6 years) to metaphysical art, and from the Novecento Italiano movement to the Valori Plastici experiment.
“For the spirit, there exist no contradictions – only transformations and developments. Changing direction in art does not mean rejecting the past but broadening it so that it melds with another aesthetic concept; it means discovering new and hitherto unknown relationships, and opening one’s eyes wider, the better to grasp a greater number of different realities.” So did Carrà explain his chameleon-like transformations in 1942, after having, through long experience, found his own, autonomous style, while at the same time keeping up with the most recent trends in European painting and renewing the Italian figurative tradition.
In 1928, Carrà exhibited 14 paintings at the Venice Biennale, and in 1931 he had his room at the first Rome Quadriennale. In 1933, he signed the Manifesto Della Pittura Murale. Between 1934–38, Carrà traveled to Campania, Algeria and Malta, devoting himself to a series of large murals.
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