Carlo Carra (1881 – 1966)
Leading artist of the Italian Futurist movement.
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Boccioni and I were swiftly persuaded that with this show in Paris we were staking our all; for a flop would have meant kissing our fine aspirations goodbye. This is why we decided to go to Paris, to see what the art situation there was like. (around 1911)
Constructions of a-rhythmical forms, the clash between concrete and abstract forms… …The acute angle is passionate and dynamic, expressing will and a penetrating force.
The Cubists, to be objective, restrict themselves to considering things by turning around them, to produce their geometric writing. So they remain at a stage of intelligence which sees everything and feels nothing, which brings everything to a standstill in order to describe everything. We Futurists are trying, on the contrary, with the power of intuition, to place ourselves at the very centre of things, in such a way that our ego forms with their own uniqueness a single complex. We thus give plastic planes as plastic expansion in space, obtaining this feeling of something in perpetual motion which is peculiar to everything living.
We stand for a use of colour free from the imitation of objects and things as coloured objects. We stand for an aerial vision in which the material of colour is expressed in all of the manifold possibilities our subjectivity can create. (statement on Futurism, 1913)
The idea for this picture (‘Uscita dal teatro / Leaving the theatre’, ca 1910) came to me one winter’s night as I was leaving La Scala. In the foreground there is a snow sweeper with a few couples, men in top hats and elegant ladies. I think that this canvas, which is totally unknown in Italy, is one of the paintings where I best represented the concept that I had the time about my art.
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