Carlo Carra'

Carlo Carrà (Italian, 1881-1966) Paessaggio in Brianza signed and dated 'C Carrà 956' (lower left) oil on canvas 40 x 30cm (15 3/4 x 11 13/16in). Painted in 1956 PROVENANCE Pasqualino Rescigno, Salerno. L'Incontro Libreria Galleria d'Arte, Salerno. Galleria D'Arte La Borgognona, Rome. G. Zanini Arte Contemporanea, Italy. EXHIBITED Acqui Terme, Palazzo Liceo Saracco, Il Paesaggio di Carrà , 13 July - 8 September 1996, no.47. LITERATURE M. Carrà, Carrà tutta l'opera pittorica, 1951-1966 , Milan, 1968, vol.III, p.577, no.15/56 (illustrated p.233). Carrà's oeuvre moved through late Impressionist, Futurist, and Metaphysical phases, evolving into a 'lyric realism' which first appeared in the early 1920s and lasted until his death in 1966. He was intimately involved in the intellectual debates of the time, on the essence of painting and the function of Italian modern art and, in keeping with the development of these debates, he moved away from the Classicist and Fascist rhetoric of the Novecento movement to embrace expressive seascapes and desolate landscapes. Painted in 1956, Paesaggio in Brianza is a late example of this lyrical realism. Using a composition similar to his earlier works, he depicts a sunny day in a typical North Italian landscape. Surrounded by cornfields, small white houses stand at the bottom of verdant hills dominated by a medieval castle. The formal simplicity of the composition conveys a sense of stillness and peace which transcends the physicality of the natural environment and gestures towards a deeper essence expressed in the painting itself. Drawing on the tradition of Giotto, Carrà articulates an emphasis on representation while simultaneously incorporating contemporary theories of form and colour to create landscapes which have both the spirituality of Giotto's frescos and the materiality of Cézanne's landscapes: 'The representational nature of Italian art tells us that the artist has the necessity, first of all, of the object. But from the object he derives that essence which transcends its exteriority.' (Carlo Carrà quoted in M. Carrà, Carrà: tutta l'opera pittorica, 1951-1966 , Milan, 1968, vol.III, p.11).

Carlo Carrà Quargnento 1881 – 1966 Milan „I SALTIMBANCHI“ 1922. Lithograph on Japan paper, in the original mat. 29,9 x 21,8 cm (42,4 x 30 cm) (11 ¾ x 8 ⅝ in. (16 ¾ x 11 ¾ in.)) Signed and titled. Söhn HDO 104-3. - From the edition of 10 prints on this paper from a total edition of 110 copies. Bauhaus-Drucke Neue Europäische Graphik, fourth portfolio. Müller & Co. Verlag, Potsdam 1923.

Carlo Carrà * (Quargnento/Alessandria 1881–1966 Milan) Venezia-Punta della Dogana, signed and dated C. Carrà 950, oil on canvas, 40 x 50 cm, framed, (PP) Photo certificate: Massimo Carrà (son of the artist), 17.4.89 with the stamp of Galleria Contini, Venice This work is registered at the Archivio Carrà. Provenance: Galleria Gian Ferrari, Milan (label and stamp on the reverse); Galleria Contini, Venice; Private Collection, Italy Specialist: Mag. Patricia Pálffy

Carlo Carrá (1881-1966) Disegno signed 'C.Carrá' (lower right) and dated '1917' (lower left) pen and ink on paper 13.5 x 10.5 cm. Executed in 1917 Giovanni Testori, Milan. Cherasco, Palazzo Salmatoris, Carlo Carrà, la natura come sogno, October - December 2008. This work is sold with a photo-certificate from Professor Massimo Carrá.

Carlo Carrá (1881-1966) Idillio campestre signed and dated 'Carlo Carrá 1922' (lower left) pencil on paper 13¼ x 13¾ in. (33.6 x 34.8 cm.) Drawn in 1922 Artist's Resale Right ("droit de Suite"). If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. F. Russoli & M. Carrá, Carrá, Disegni, Bologna, 1977, no. 441, p. 307 (illustrated p. 306).