On November 21, 1981 Galleria dello Scudo inaugurated a rich anthological exhibition dedicated to Carlo Carrà to celebrate the centennial of his birth. For the first time in Italy, an exhibition has been the result of the close collaboration between a private gallery and public institutions, thus emphasizing, through their patronage, the scientific and cultural importance of initiatives organized in synergy with foundations and archives that safeguard the work of individual artists.
The exhibition, realized under the patronage of Regione del Veneto, documents the whole career of Carrà, from the pictorial essays of his early youth to the rarefied atmospheres of his final period, through over seventy paintings created between 1900 and 1966 and a wide selection of drawings, lithographs and engravings.
The exhibition path is marked by some works of primary importance, chosen to document the different seasons of his artistic commitment, from Divisionism to Futurism, from Metaphysics to the period of Magic Realism. Among them are works such as Ovale delle apparizioni (1918), which at the time of the show belonged to Magda and Riccardo Jucker and then entered the collection of Galleria Nazionale d’Arte Moderna, Rome; and Le figlie di Loth (1919), now belonging to VAF Stiftung on deposit at MART - Museo di Arte Moderna e Contemporanea di Trento e Rovereto.
In addition to the numerous paintings from the collection of the artist's son, Massimo, and from important private collections such as Jesi and Giovanardi, the show exhibits numerous public loans: Il leccio (1925), Estate (1930), and Pescatori (1929-1935) from Civica Galleria d’Arte Moderna, Milan; Tramonto al mare (1927), Ritorno dai campi (1937), Cavallino (1937), and Natura morta con il cocco (1949) from Galleria Internazionale d’Arte Moderna Ca’ Pesaro, Venice; Le bagnanti (1943) from Museo “Mario Rimoldi”, Cortina d’Ampezzo. Moreover, Paesaggio toscano (1952), winner of Premio Marzotto.
The catalogue includes an in-depth study documenting the first and the last state of Ovale delle apparizioni (1918), Carrà’s masterpiece of his metaphysical period, thus confirming how the process of “slow elaboration” was a constant note which allowed the artist to reach the final outcome through corrections and reconsiderations.
The exhibition had a great emphasis in the national press, as confirmed by the numerous reviews published at the time in newspapers and magazines such as “Corriere della Sera”, “Il Giorno”, “La Repubblica”, “La Stampa”, “L’Unità”, “Secolo d’Italia”, “Epoca”, and “L’Espresso”.
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