Carrą experimented with Divisionism, but like Boccioni was dissatisfied with current trends in painting. Together with Boccioni and Russolo he drafted the Manifesto of the Futurist Painters and the Technical Manifesto of Futurist Painting (both 1910), issuing his own manifesto The Painting of Sounds, Noises and Smells in 1913. The painting of sounds, noises and smells calls for:
Reds, rrrrreds, the rrrrrreddest rrrrrrreds that shouuuuuuut. Greens, that can never be greener, greeeeeeeeeeeens that screeeeeeam, yellows, as violent as can be: polenta yellows, saffron yellows, brass yellows.
about the artist Carlo Carra
With images of artworks.
Guggenheim Collection: Carlo Carra
Carrą theoretical position, grounded in a post-war “return to order,” signaled his break with the classicism of de Chirico. After a short-lived phase of Magic Realism, by the mid-twenties, Carrą had evolved his mature style that combined archaizing figures with an atmospheric brushwork, redolent of nineteenth century Impressionist Naturalism.
MOMA Collection: Carlo Carra
The Painting of Sounds, Noises and Smells
The painting of sounds, noises and smells rejects: All muted colors, even those obtained directly and without using tricks like patinas and glazes.
The banality of those velvets, silks and flesh tints which are too human, too refined, too soft, and flowers which are too pale and drooping…