Picasso’s Cubism, and changed the canvas design to the piece seen today. Carrà would incorporate Picasso’s technique of fracturing, or using corresponding and overlapping lines to display conflict, as a means to convey harsh movements. Carrà's finished piece was first exhibited in 1912 when Felix Fénéon organized The Italian Futurist Painters exhibition at the Galerie Bernheim-Jeune. Carrà was exhibited alongside other Futurist painters, including Umberto Boccioni, Luigi Russolo, Gino Severini, and Giacomo Balla. In 1912, the piece was purchased by Borchardt, a German art collector, and displayed in the Galerie Der Sturm, in Berlin. The piece was then sold again in 1914 to Franz Kluxen. By 1920, the piece had been obtained by Herwarth Walden and was displayed again in the Galerie Der Sturm. Between 1920-1948, the piece was purchased from Der Sturm by Paul Citroen. In 1947, the piece was first displayed in New York City's Museum of Modern Art, where it was then bought by the museum the following year. The piece was obtained through funding provided by the Lillie P. Bliss Bequest and has remained with the Museum of Modern Art to this day. The Funeral of the Anarchist Galli is widely considered to be Carrà's most influential piece. Description Carrà's The Funeral of the Anarchist Galli was composed at the height of Carrà's futurist phase. The subject of the work is the funeral of Galli. In the center of the canvas, Galli’s coffin is painted draped in red cloth and uneasily balanced whilst being held aloft. Around the coffin are a series of darkened figures, depicting the anarchists, seemingly engaged in a fight. These figures are illuminated by two light sources emanating from the sun and the coffin. The illumination of Galli's coffin draws focus both to his centrality in the painting and his importance in the historical event depicted. On the left, the police cavalry are shown opposing the anarchists. The top third of the piece is dominated by darkly drawn diagonal lines, indicating banners, lances, flagpoles, and cranes, and drawing parallels to weapons of war. The harsh angles and linework of the painting were designed to show the chaos and energy of the scene presented. Additionally, the rounded bodies and overlapping lines gives the effect of movement. The piece as a whole has been described as violent. Analysis and reception While Carrà drew inspiration from Cubism, he stressed dynamism, as opposed to Cubism's static