Marina is a painting by Carlo Carrà, completed in 1932. Carrà was an Italian painter and a leading figure of the Futurist movement that shaped early twentieth-century modernism in Italy. Beyond his prolific painting practice, Carrà was also a theorist and educator, teaching for many years in Milan.
By 1932, when Marina was created, Carrà’s artistic trajectory had evolved considerably from his militant Futurist phase. He had signed the Manifesto of Futurist Painters in 1910 alongside Umberto Boccioni, Luigi Russolo, and Giacomo Balla, but his work underwent substantial transformation in the years following World War I. Marina belongs to the mature phase of his career, when his painting continued to engage with modernist formal innovation while moving beyond the programmatic concerns of early Futurism.
About Carlo Carrà
Carrà was born in Quargnento, Piedmont, in 1881 and began his artistic training early, working as a mural decorator from age twelve. His exposure to contemporary French art came through work at the 1899–1900 Exposition Universelle in Paris. After studies at the Brera Academy in Milan under Cesare Tallone, he emerged as one of Futurism’s most significant voices before redirecting his practice toward a more nuanced modernism.
Details
- Creator: Carlo Carrà
- Year: 1932
- Movement: Post-Futurist modernism
- Artist’s teaching base: Milan
Frequently asked questions
Who was Carlo Carrà?
Carlo Carrà (1881–1966) was an Italian painter and a leading figure of the Futurist movement. He signed the Manifesto of Futurist Painters in 1910 and became known for both his paintings and theoretical writings on art. He taught for many years in Milan.
What was Carrà’s relationship to Futurism?
Carrà was a founding signatory of the Manifesto of Futurist Painters in 1910 alongside Boccioni, Russolo, and Balla. His Futurist phase was most active in the early twentieth century; his work evolved significantly after World War I, though it continued to employ modernist formal strategies.
When was Marina created?
Marina was painted in 1932, during the later phase of Carrà’s career, when his practice had moved beyond the doctrines of early Futurism.