Oil on canvas cardboard
"From 1926 onwards my usual summer home is Forte dei Marmi, where I found the magic of a landscape that suited my intimate feeling", wrote Carlo Carrà in 1940, when Versilia was still an inexhaustible source of subjects for him: simplicity of the architecture of the piers, mountains, huts, poles that he had begun to immortalize in Liguria in the 1920s, with Il pino sul mare, are characteristics that return, immersed in silent nature, even in this Marina that Bruno Blotto Baldo wanted donate to the Civic Museum of Biella in 1952, on the occasion of the reopening of the Museum. It is a view of Cinquale, a recurring subject in Carrà's mature production, played here on several floors, with the coast in the foreground, the sea animated by a sailboat and the distant promontory that closes the inlet. The sea was a theme - as his son Massimo had the opportunity to declare - "that really fascinated my father for almost half a century, so much so that it became perhaps his most effective tool to fully express his idea of a painting capable of creating in exclusively pictorial terms the complex relationship between the artist and reality, mirroring the relationship between man and his world ". And here, the extreme simplification of the form and the very meditated essentiality of the composition - a legacy of the puristic acquisitions of the years of "Plastic Values" - return to accentuate that muted tonalism of the greens, blues and grays, which contrast with the red of the roof. of the shed to which, the apparently casual cut of the image, gives the role of decentralized chromatic fulcrum. The work, signed and dated, dates back to 1940, the year in which it was exhibited at the Venice Biennale, as evidenced by the exhibition catalog and the label affixed to the back, which bears the words "XXII International Biennial Art Exhibition. Venice 1940 ". La Marina, published in the general catalog of Carrà's pictorial work (1967), was mistakenly included among the works of 1941. Although in the absence of certain documentation, it is assumed that it may have been purchased by Blotto Baldo not long after the Venetian exhibition of which he was a frequent visitor.