The Funeral of the Anarchist Galli (Il Funerale dell’anarchico Galli) is a painting by Italian painter Carlo Carrà. It was finished in 1911, during the artist's futurist phase, and is considered Carrà's most famous piece. The piece depicts the violent funeral of anarchist Angelo Galli, an event Carrà witnessed in his early adulthood. The piece was first displayed in 1912 and has been described as chaotic and violent. Since 1948, it has resided in New York City's Museum of Modern Art. Reception of the piece has praised its use of intense, heavy lines as a means to display movement. The Futurist Manifesto praised Carrà's adaptation of Pablo Picasso’s Cubist techniques in the piece. Critics have noted compositional similarities between The Funeral of the Anarchist Galli and Paolo Uccello's work The Battle of San Romano. History In 1906, anarchist Angelo Galli was killed on the eve of an Italian general strike. The strike had been called after a section of the Milanese Royal Guard fired upon a group of protestors, killing one and injuring eight. Galli was a major organiser of the strike, and was killed on May 10th, 1906, after being confronted and stabbed by security guards of the Macchi and Pessoni factory. Galli was alongside anarchists Enrico Recalcati and Carlo Gelosa, and the trio were on their way to a picket. His funeral was planned for May 13th, 1906. The Italian state feared that his funeral would become a de facto political demonstration. In the event, hundreds of people attended, monitored by police on horseback. Police refused the procession of anarchists entrance into the cemetery itself. When the anarchists resisted, the police responded with force and a violent scuffle ensued. Carrà was associated with the Milanese anarchist movement at the time and was present at the funeral. In his autobiography, Carrà recounted the events, stating: Carrà in his autobiography would incorrectly attribute Galli's death to the Italian General Strike of 1904. The Newspaper Corriere della Sera was the first to describe this discrepancy, with some believing that Carrà was attempting to tie himself to a more famous event. In 1910, Carrà drew a pastel study, Study for Funeral of the Anarchist Galli, in preparation for his work on the final piece. It has been proposed that early renditions of The Funeral of the Anarchist Galli likely resembled the earlier study. In 1911, Carrà visited Paris, coming into contact with