Carlo Kalla (1881~1966) was one of the earliest members of the Futurist School. At the beginning of his artistic career, he was trained in decorative painting. When he was 12 years old, he studied art with a decorative painter. In 1900, he performed decorative design work for the Paris International Exposition. In 1909, he entered Marinetti's Futurist circle and became an active member of the Futurist School. He not only signed those Futurist manifestos, but proposed his own. In this manifesto published in 1913, he talked about the concept of "total painting" and advocated "painting with music, noise and smell". Therefore, in addition to the movement and speed advocated by Futurism, some of his works also have the apperceptive transmission of sight, hearing, and smell that he pursued. The influence of Cubism on him is obvious. Judging from the structure and tone, some of his paintings, such as "Simultaneous Juxtaposition, Woman on the Balcony", seem to have more Cubist style characteristics.

"Patriotic Celebration" is a cardboard collage created by Carla in 1914. The materials used in this work are books, newspapers, magazines, music scores and other printed matter with different fonts. Carla cuts, collages and structures them in vibrant colors to create patterns that are warm, lively and dynamic. We can see that arcs expand from the center to the periphery, and straight lines radiate from the center to the surroundings. This mandala-like structure creates a certain tension in the picture from the inside to the outside. Obviously, words play a very important role here. Although in the works of Boccioni or Severini we can also see words, they are few and content mainly with lyricism. And Carla uses them extensively, letting them take on the task of styling and giving them a certain special charm. This use of words actually stems from Marinetti's claims. Marinetti once proposed using "free words" to compose poetry, and Carla followed closely behind, using "free words" to compose pictures, allowing the audience to generate rich associations while watching, and trigger some indescribable subjective feelings. Therefore this work is also called "Free Word Painting".

Kara served in the army during World War I. In 1916, while recovering from an injury in the hospital, he met Chirico and later turned to a "metaphysical" painting style, becoming a bridge between Italian Futurist painting and metaphysical painting.