Word: carras
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Futurism made the most noise at the start. The futurist painters' manifestos of 1910, written by that inspired poet and arch-hypester Filippo T. Marinetti and signed by a clutch of brilliantly gifted artists (Giacomo Balla, Umberto Boccioni, Carlo Carra, Luigi Russolo and Gino Severini), declared war on cultural history -- "the enthusiasm for everything worm-eaten, rotting with filth, eaten away by time...
...Russia until around 1925. The movement took an aggressively internationalist stance, looking to a future world unified by technology. Yet its rhetoric was bedded deep in Italian life. The core of the futurist group, which coalesced in the early 1900s, was made up of the painters Umberto Boccioni, Carlo Carra, Giacomo Balla, Luigi Russolo and Gino Severini, the architect Antonio Sant'Elia and a few writers clustered around the figure of Marinetti, poet, dandy, ringmaster, publicist and red-hot explainer to the global village -- "the caffeine of Europe," as he called himself. They were all Italian; to be Italian then...
...Braque had built cubism on the scrutiny of a single object from multiple viewpoints: the table stood still, the eye moved. In futurism, the eye is fixed and the object moves, but it is still the basic vocabulary of cubism -- fragmented and overlapping planes -- that tells us so. Carra, Boccioni and, above all, Balla prized the photographs of sequential movement taken by Eadweard Muybridge and Etienne Jules Marey. Some of Balla's own paintings, like the famous Dynamism of a Dog on a Leash, 1912, are virtually straight renderings of multiple-exposure photographs. But in his series of paintings inspired...
...exhibit also provides a deftly culture-bound experience. Lichtenstein is nothing if not erudite, and to see him parodying established modern masterpieces (Matisse's Red Studio, or the cubist work of Picasso and Juan Gris, or Carlo Carra's Red Horseman) is to see a very informed mind at work, particularly at obscure levels of parody. How, for instance, does one render the odd ambiguities and shifts of cubist or futurist painting in terms of this rigidly determinate dot-and-line style? Of course, it is not paintings but reproductions that Lichtenstein parodies; reproduction itself reduces...
...Italian prints span styles from the ex-Futurist Carlo Carra's surprisingly static "The Acrobats," to the Surrealis precursor Giorgio de Chirico, who by 1921 had also reverted to a more academic style. De Chirico had switched from his earlier eerie, suspended space and stifled-emotion realism to a less exciting neoclassicism...