Painting
Carrà 's paintings explore the full vocabulary of Futurism; his dynamic work captures light and its effect, movement. In 1913 he wrote his own manifesto The Painting of Sounds, Noises and Smells in which he discussed the synthesis of Cubism and Futurism in his painting and his objective of affecting the senses through the use of color and dynamic composition.
Carrà's paintings moved towards capturing a simplified realism and in 1917 he met the painter Giorgio de Chirico and discovered a marked similarity in their work. Together they developed Pittura Metaphysica (Metaphysical Painting) and today, Carrà is best known for his work in this style even though he parted company in 1918.
Writing
By the mid-twenties, he had evolved his mature style that combined archaizing figures with an atmospheric brushwork, redolent of nineteenth century Impressionist Naturalism. In the 1920s, he participated in the two exhibitions of the Novecento italiano, while his interest in the indigenous qualities of the Italian landscape drew him close to the regionalist Strapaese group. In the following decade Carrà received commissions for mural paintings under the regime, and signed Mario Sironi's Manifesto of Mural Painting in 1933. For the most part, he concentrated on seascapes of the Tuscan coast near Forte dei Marmi.
Biography
Boccioni's paintings were shown with those of Carrà, Russolo, and Severini in the first Futurist show in Paris, at the Galerie Bernheim-Jeune in 1912.
In July of 1915 Boccioni enlisted in the army with Marinetti, Russolo, and Antonio Sant'Elia. On August 16, 1916, Boccioni was accidentally thrown from his horse during a cavalry training exercise and was trampled. He died the following day, aged 33.