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Carlo Carrà (Italian: [ˈkarlo karˈra]; February 11, 1881 – April 13, 1966) 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, he wrote a number of books concerning art.
The Funeral of the Anarchist Galli (Il Funerale dell’anarchico Galli) is a painting by Italian painter Carlo Carrà. It was finished in 1911, during the artist's futurist phase, and is considered Carrà's most famous piece. The piece depicts the violent funeral of anarchist Angelo Galli, an event Carrà witnessed in his early adulthood. The ...
For the "Portrait of the composer Gara Garayev", in 1962, Salahov was awarded the silver medal of the USSR Academy of Arts, and in 1968 - the USSR State Prize. The portrait depicts the composer Gara Garayev sitting, grouped as for a tiger's jump, writes the art critic Ekaterina Degot. He is wearing a turtleneck and something like the Soviet ...
The Constellation of Leo (Italian: La costellazione del leone) is a painting made by Carlo Maria Mariani in 1980–1981. It is a group portrait of prominent people from Italy's art world at the time, including Mariani himself, and has the subtitle The School of Rome (Italian: La scuola di Roma). It contains visual references to ancient ...
History painting is a genre in painting defined by its subject matter rather than any artistic style or specific period. History paintings depict a moment in a narrative story, most often (but not exclusively) Greek and Roman mythology and Bible stories, opposed to a specific and static subject, as in portrait, still life, and landscape painting.
Giovanna Garzoni was born in 1600 in Ascoli Piceno in the Marche district of Italy to Giacomo Garzoni and Isabetta Gaia. [10] Both of Garzoni's parents were of Venetian origin and are believed to have come from a long line of Venetian painters - a fact that is often disputed. [2]
In 1947 he exhibited his first work at the Angelicum Gallery in Milan, on the occasion of the biennial exhibition of sacred art. In the following edition in 1949, the two works he exhibited, Visitazione and Cena in Emmaus, were met with great appreciation by Carlo Carrà.
In the 1970s he defended his choice of medium from attacks by art critics by making parallels between the melancholy for the past of neoclassicism and the then trendy conceptual art. He received international attention in the 1980s with what was called pittura colta ("cultivated painting") and la Nuova Maniera ("The New Style") in Italy, in ...