Carlo Carrà's drawings and lithographs on show in Pescara

The Fondazione Paparella Treccia Devlet in Pescara hosts 'Carlo Carrà. Il segno e il ricordo', curated by Elena Pontiggia, focusing on the graphic works of Carlo Carrà (1881–1966). Carrà, a signatory of the 1910 Futurist Painting Manifesto, later moved through Metaphysical art and the 'Ritorno all'ordine' promoted by Margherita Sarfatti and Valori Plastici. He also joined the Selvaggio movement (1927–28) and co-signed the 1933 Manifesto della Pittura Muraria with Campigli, Funi, and Sironi. Introduced to engraving by Giuseppe Guidi, Carrà produced his first lithographs in 1922. The exhibition traces his graphic evolution from schematic, hieratic figures in works like 'Testa di donna' (1922) and 'I saltimbanchi' (1922) to landscapes recalling Cézanne, such as 'Cengio' (1922) and 'Il golfo' (1924). Themes of love, melancholy, and incommunicability appear in 'La casa dell'amore' (1924) and 'Gli amanti' (1927). Later lithographs, including those from the 'Carrà 1912-1921' folders and albums, rework Cubist, Futurist, and Metaphysical elements with nostalgic tones. The final work on view is 'Il cancello' (1964), a metaphor for farewell. The show runs at the Fondazione Paparella Treccia Devlet in Pescara.