{"id":22029,"date":"2026-09-29T10:27:29","date_gmt":"2026-09-29T08:27:29","guid":{"rendered":"https:\/\/www.gvperte.it\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/"},"modified":"2026-10-01T16:56:29","modified_gmt":"2026-10-01T14:56:29","slug":"london-before-venice-the-origins-of-peggy-guggenheims-collection","status":"publish","type":"post","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/","title":{"rendered":"London Before Venice: The Origins of Peggy Guggenheim’s Collection"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"

Just the large painting <\/span>\u201cDominant Curve\u201d <\/b><\/span>by<\/span> <\/b>Kandinsky <\/span>It’s worth seeing. The work, which reveals the Russian artist’s commitment to exploring the concepts of tension and balance in his art, was among those exhibited at the <\/span>\u201cGuggenheim Jeune\u201d<\/b><\/span>, the first gallery opened by Peggy Guggenheim in London, at a time when the English-speaking world was just beginning to discover the European avant-garde. <\/span> <\/p>\n

This and much more is featured in the exhibition \u201c<\/span>“Peggy Guggenheim in London: The Making of a Collector” <\/b><\/span>, on view through October 19 at the <\/span>Peggy Guggenheim Collection in Venice<\/b><\/span>. Developed over six years, this is the first exhibition dedicated to Peggy Guggenheim\u2019s time in London and her first gallery, located at 30 Cork Street <\/span>between 1938 and 1939<\/b><\/span>. The exhibition, curated by <\/span>Gra\u017eina Subelyt\u0117<\/b><\/span> and from <\/span>Simon Grant<\/b><\/span>, reconstructs <\/span>A crucial yet lesser-known chapter in Guggenheim’s life<\/b><\/span> in the promotion and acceptance of modern and abstract art in Great Britain: \u201cHe realized that his <\/span>“Our mission was to raise awareness of and foster appreciation for contemporary artists,” the curators explain. <\/span>At a time when <\/span>London’s institutions remained conservative<\/b><\/span>, the \u201cGuggenheim Jeune\u201d played a fundamental role in shaping the British art scene during the interwar period, increasing the visibility and acceptance of contemporary art, and proving to be <\/span>an essential space for the promotion of avant-garde art. <\/b><\/span><\/p>\n","protected":false},"author":89,"featured_media":21966,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"give_campaign_id":0,"footnotes":""},"categories":[1998],"tags":[2070,3271,3270,3272,3269,1999],"class_list":["post-22029","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ve-nice","tag-art","tag-collection","tag-guggenheim","tag-london","tag-peggy","tag-venice"],"acf":{"categoria":[1998],"categoria_source":{"label":"Category","type":"taxonomy","formatted_value":[{"term_id":1998,"name":"Ve-nice","slug":"ve-nice","term_group":0,"term_taxonomy_id":1998,"taxonomy":"category","description":"","parent":0,"count":13,"filter":"raw"}]},"sottotitolo_h2":"With the opening of the \u201cGuggenheim Jeune\u201d in London in 1938, Peggy Guggenheim established herself as a patron of the arts and a collector, eventually going on to open her own museum in Venice","sottotitolo_h2_source":{"label":"Subtitle","type":"text","formatted_value":"With the opening of the \u201cGuggenheim Jeune\u201d in London in 1938, Peggy Guggenheim established herself as a patron of the arts and a collector, eventually going on to open her own museum in Venice"},"immagini_principale":{"ID":21966,"id":21966,"title":"peggy","filename":"peggy.jpeg","filesize":570654,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 07:58:31","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":1667,"height":1250,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-300x225.jpeg","medium-width":300,"medium-height":225,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-768x576.jpeg","medium_large-width":768,"medium_large-height":576,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy.jpeg","large-width":800,"large-height":600,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-1536x1152.jpeg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy.jpeg","2048x2048-width":1667,"2048x2048-height":1250,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-1320x990.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":990}},"immagini_principale_source":{"label":"Main images","type":"image","formatted_value":{"ID":21966,"id":21966,"title":"peggy","filename":"peggy.jpeg","filesize":570654,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 07:58:31","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":1667,"height":1250,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-300x225.jpeg","medium-width":300,"medium-height":225,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-768x576.jpeg","medium_large-width":768,"medium_large-height":576,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy.jpeg","large-width":800,"large-height":600,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-1536x1152.jpeg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy.jpeg","2048x2048-width":1667,"2048x2048-height":1250,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-1320x990.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":990}}},"introduzione":"Just the large painting <\/span>\u201cDominant Curve\u201d <\/b><\/span>by<\/span> <\/b>Kandinsky <\/span>It's worth seeing. The work, which reveals the Russian artist's commitment to exploring the concepts of tension and balance in his art, was among those exhibited at the <\/span>\u201cGuggenheim Jeune\u201d<\/b><\/span>, the first gallery opened by Peggy Guggenheim in London, at a time when the English-speaking world was just beginning to discover the European avant-garde. <\/span> \n\nThis and much more is featured in the exhibition \u201c<\/span>\"Peggy Guggenheim in London: The Making of a Collector\" <\/b><\/span>, on view through October 19 at the <\/span>Peggy Guggenheim Collection in Venice<\/b><\/span>. Developed over six years, this is the first exhibition dedicated to Peggy Guggenheim\u2019s time in London and her first gallery, located at 30 Cork Street <\/span>between 1938 and 1939<\/b><\/span>. The exhibition, curated by <\/span>Gra\u017eina Subelyt\u0117<\/b><\/span> and from <\/span>Simon Grant<\/b><\/span>, reconstructs <\/span>A crucial yet lesser-known chapter in Guggenheim's life<\/b><\/span> in the promotion and acceptance of modern and abstract art in Great Britain: \u201cHe realized that his <\/span>\"Our mission was to raise awareness of and foster appreciation for contemporary artists,\" the curators explain. <\/span>At a time when <\/span>London's institutions remained conservative<\/b><\/span>, the \u201cGuggenheim Jeune\u201d played a fundamental role in shaping the British art scene during the interwar period, increasing the visibility and acceptance of contemporary art, and proving to be <\/span>an essential space for the promotion of avant-garde art. <\/b><\/span>","introduzione_source":{"label":"Introduction","type":"wysiwyg","formatted_value":"

Just the large painting <\/span>\u201cDominant Curve\u201d <\/b><\/span>by<\/span> <\/b>Kandinsky <\/span>It’s worth seeing. The work, which reveals the Russian artist’s commitment to exploring the concepts of tension and balance in his art, was among those exhibited at the <\/span>\u201cGuggenheim Jeune\u201d<\/b><\/span>, the first gallery opened by Peggy Guggenheim in London, at a time when the English-speaking world was just beginning to discover the European avant-garde. <\/span> <\/p>\n

This and much more is featured in the exhibition \u201c<\/span>“Peggy Guggenheim in London: The Making of a Collector” <\/b><\/span>, on view through October 19 at the <\/span>Peggy Guggenheim Collection in Venice<\/b><\/span>. Developed over six years, this is the first exhibition dedicated to Peggy Guggenheim\u2019s time in London and her first gallery, located at 30 Cork Street <\/span>between 1938 and 1939<\/b><\/span>. The exhibition, curated by <\/span>Gra\u017eina Subelyt\u0117<\/b><\/span> and from <\/span>Simon Grant<\/b><\/span>, reconstructs <\/span>A crucial yet lesser-known chapter in Guggenheim’s life<\/b><\/span> in the promotion and acceptance of modern and abstract art in Great Britain: \u201cHe realized that his <\/span>“Our mission was to raise awareness of and foster appreciation for contemporary artists,” the curators explain. <\/span>At a time when <\/span>London’s institutions remained conservative<\/b><\/span>, the \u201cGuggenheim Jeune\u201d played a fundamental role in shaping the British art scene during the interwar period, increasing the visibility and acceptance of contemporary art, and proving to be <\/span>an essential space for the promotion of avant-garde art. <\/b><\/span><\/p>\n"},"paragrafi_articolo":[{"titolo_paragrafo":"Peggy discovered she was a collector: that\u2019s how the creation of the Venetian museum began ","testo_paragrafo":"This period was also decisive in <\/span>shaping Guggenheim\u2019s identity as a collector and patron of the arts<\/b><\/span>, so much so that it was during the exhibition dedicated to <\/span>Kandinsky <\/span>he purchased two paintings, including \u201cDominant Curve,\u201d which he later sold to his uncle Salomon R. Guggenheim; the work is currently on loan from his museum in New York. <\/span> \n\nThe exhibition features <\/span>about a hundred works on display<\/b><\/span> in those <\/span>pioneering exhibitions<\/b><\/span>, along with similar works from the same period drawn from major international institutions and private collections, interspersed with works by artists whom the Guggenheim would later collect. The exhibition features paintings, sculptures, works on paper, photographs, puppets, and archival materials, showcasing the extraordinary variety of artistic languages presented in the gallery and documenting <\/span>a period of intense experimentation<\/b><\/span>\n\nartistic<\/b><\/span> and cultural ferment in which Guggenheim was determined to establish a museum of modern art in London\u2014a vision she ultimately realized in Venice, in the palace where she chose to live, which today houses her collection.<\/span>","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":21968,"id":21968,"title":"peggy due","filename":"peggy-due-scaled.jpeg","filesize":341953,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-scaled.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-due-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-due-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 08:03:45","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":2560,"height":1920,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-300x225.jpeg","medium-width":300,"medium-height":225,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-768x576.jpeg","medium_large-width":768,"medium_large-height":576,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-1707x1280.jpeg","large-width":800,"large-height":600,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-1536x1152.jpeg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-2048x1536.jpeg","2048x2048-width":2048,"2048x2048-height":1536,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-1320x990.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":990}},"didascalia":""},{"titolo_paragrafo":"Within 18 months, \u201cGuggenheim Jeune\u201d became a landmark of the avant-garde","testo_paragrafo":"In a surprisingly short period of time, <\/span>from January 1938 to June 1939, <\/b><\/span>the \u201cGuggenheim Jeune\u201d became one of the leading centers for the artistic avant-garde of the time in promoting local and international artists, distinguishing itself through a <\/span>bold and experimental program. <\/b><\/span> \n\nIn just eighteen months, the Guggenheim <\/span>organized more than twenty exhibitions<\/b><\/span> and set numerous curatorial records <\/span> and groundbreaking projects linked to the trends of abstraction and surrealism. Among these, <\/span>in addition to the first solo exhibition in the United Kingdom by <\/span>Wassily Kandinsky<\/span>, the inaugural exhibition was dedicated to <\/span>Jean Cocteau<\/b><\/span>, followed by <\/span>the first exhibition in the United Kingdom entirely dedicated to collage<\/b><\/span> featuring works on paper by <\/span>Picasso and Braque<\/span>, <\/span>the 1938 contemporary sculpture exhibition<\/b><\/span> which caused a major scandal with works by Jean Arp that explored abstraction and new ways of working with materials, and which was instrumental in the spread of contemporary sculpture <\/span>in England,<\/span> and <\/span>an exhibition of artwork created by children<\/b><\/span>: \u201cThis collection also included the first known painting of a very young <\/span>Lucian Freud<\/b><\/span> - the curator pointed out <\/span>Gra\u017eina Subelyt\u0117<\/b><\/span>, explaining that this marked the renowned British artist\u2019s debut exhibition. \u2014 Furthermore, <\/span> Many of the works from that exhibition have gone missing, and we're conducting an investigation<\/span>.\u201d <\/span> ","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":21970,"id":21970,"title":"peggy ter","filename":"peggy-ter-scaled.jpeg","filesize":523975,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-scaled.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-ter-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-ter-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 08:05:44","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":1920,"height":2560,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-225x300.jpeg","medium-width":225,"medium-height":300,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-768x1024.jpeg","medium_large-width":768,"medium_large-height":1024,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-960x1280.jpeg","large-width":800,"large-height":1067,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-1152x1536.jpeg","1536x1536-width":1152,"1536x1536-height":1536,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-1536x2048.jpeg","2048x2048-width":1536,"2048x2048-height":2048,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-1320x1760.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":1760}},"didascalia":""},{"titolo_paragrafo":"A Space for Abstraction, Surrealism, and Women","testo_paragrafo":"The exhibition begins with key works of abstract art and Surrealism on display<\/span>\n\nduring the brief but intense period of activity of \u201cGuggenheim Jeune,\u201d which reflected the main artistic trends underlying the gallery\u2019s program, including the small sculpture <\/span>\u201cHead and Shell\u201d by Jean (Hans) Arp<\/b><\/span> and the large suspended assemblage featuring an umbrella and natural sponges <\/span>\u201cArticulated Cloud\u201d by Wolfgang Paalen<\/b><\/span>. The following rooms are dedicated to the individual exhibitions held in the space, such as the first Surrealist exhibition dedicated to the Danish artist <\/span>Rita Kernn-Larsen,<\/b><\/span> who exhibited more than 30 paintings, such as the self-portrait \u201cwhere a mouth transforms into the leaves of a tree,\u201d he explains <\/span>Subelyt\u0117<\/b><\/span>, as well as the one dedicated to the Russian artist <\/span>Marie Vassilieff<\/b><\/span>, a leading figure in a hybrid and transdisciplinary practice that blurs the boundaries between art, craftsmanship, and design, and the creator of the genre of <\/span>\u201cartistic dolls\u201d<\/b><\/span> handmade, such as <\/span>\u201cThe Devil\u201d<\/b><\/span> and <\/span>\u201cThe Policeman\u201d<\/b><\/span> present<\/span> <\/b>on display. Also standing out are the small earrings made for Peggy by <\/span>Yves Tanguy<\/b><\/span>. One room is also dedicated to color photographic portraits of artists and intellectuals from <\/span>Gis\u00e8le Freund<\/b><\/span>, including the 1977 photograph depicting <\/span>Peggy Guggenheim with Herbert Read<\/b><\/span>. \"We are bringing lesser-known artists from that period back into the spotlight, particularly women,\" said the curator <\/span>Simon Grant<\/b><\/span>. <\/span> <\/span>","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":21972,"id":21972,"title":"peggy quater","filename":"peggy-quater-scaled.jpeg","filesize":529717,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-scaled.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-quater-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-quater-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 08:07:44","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":2560,"height":1920,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-768x576.jpeg","medium-width":768,"medium-height":576,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-768x576.jpeg","medium_large-width":768,"medium_large-height":576,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-2560x1920.jpeg","large-width":800,"large-height":600,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-1536x1152.jpeg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-2048x1536.jpeg","2048x2048-width":2048,"2048x2048-height":1536,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-1320x990.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":990}},"didascalia":""},{"titolo_paragrafo":"Also on display is a Mondrian that has been studied for years","testo_paragrafo":"There is also a tribute to the historic exhibition \u201c<\/span>Abstract and Concrete Art\u201d<\/b><\/span>, featuring works by artists such as Mondrian, Taeuber-Arp, and Van Doesburg. <\/span> \n\nOn the occasion of the exhibition, Mondrian\u2019s masterpiece is on display<\/span><\/span> \u201c<\/i><\/span><\/span>C<\/span><\/span>Composition No. 1 with Gray and Red, 1938 \/ Composition with Red, 1939 <\/b><\/span><\/span><\/em>\u201d <\/b><\/span><\/span><\/em>which is once again visible to the public<\/span><\/span> <\/b>after<\/b><\/span><\/span><\/em> <\/b>more than five years of restoration and interdisciplinary research <\/span><\/span>launched<\/span><\/span>launched in 2021 by the museum\u2019s conservation department.<\/span><\/span> <\/span><\/span><\/span>\n\nPainted between 1938 and 1940, on the eve of World War II, the painting represents <\/span><\/span>one of the high points of Mondrian\u2019s neoplastic exploration<\/b><\/span><\/span>: a sophisticated composition of<\/span><\/span> <\/span><\/span>area,<\/span><\/span> <\/span><\/span>light<\/span><\/span> <\/span><\/span>and<\/span><\/span> <\/span><\/span>space.<\/span><\/span><\/span>\n\nThe conservation work\u2014which was necessary following a restoration carried out in New York in 1968 that had altered the appearance of the artwork\u2014provided <\/span><\/span>an opportunity to deepen our understanding of the work\u2019s spatial and material conception<\/b><\/span><\/span> and to restore its original perceptual qualities. <\/span><\/span> <\/span>\n\nThe restoration made it possible to reestablish the balance between matte and reflective surfaces, restoring clarity to the complex spatial composition conceived by the artist. Analyses have shown that the artist created the black lines by <\/span><\/span>multiple overlapping layers of paint and varnish<\/b><\/span><\/span>, repeatedly revisiting his compositions over time to refine proportions, surfaces, and spatial relationships, while the white and colored areas retain visible brushstrokes and matte textures. <\/span><\/span>The final rooms bring together the works of the Surrealist artists and those featured in the collage exhibition, such as the one by <\/span>Hans Hartung,<\/b><\/span> which consists of metal, wire mesh, rope, nails, screws, and glue on paper mounted on a wooden panel, and the work that contains a collection of bird and mammal bones arranged to form the image of a gun made of <\/span>Wolfgang Paalen<\/b><\/span>: \u201cFor some,\u201d he concluded, <\/span>Grant<\/b><\/span> - \u201cSome considered them splendid works; others found them unacceptable. The exhibition left an important legacy.\u201d <\/span><\/span>","multimedia":"video","video":"https:\/\/youtu.be\/1p6e6UyjuxY","immagine_paragrafo":false,"didascalia":""}],"paragrafi_articolo_source":{"label":"Article Paragraphs","type":"repeater","formatted_value":[{"titolo_paragrafo":"Peggy discovered she was a collector: that\u2019s how the creation of the Venetian museum began ","testo_paragrafo":"

This period was also decisive in <\/span>shaping Guggenheim\u2019s identity as a collector and patron of the arts<\/b><\/span>, so much so that it was during the exhibition dedicated to <\/span>Kandinsky <\/span>he purchased two paintings, including \u201cDominant Curve,\u201d which he later sold to his uncle Salomon R. Guggenheim; the work is currently on loan from his museum in New York. <\/span> <\/p>\n

The exhibition features <\/span>about a hundred works on display<\/b><\/span> in those <\/span>pioneering exhibitions<\/b><\/span>, along with similar works from the same period drawn from major international institutions and private collections, interspersed with works by artists whom the Guggenheim would later collect. The exhibition features paintings, sculptures, works on paper, photographs, puppets, and archival materials, showcasing the extraordinary variety of artistic languages presented in the gallery and documenting <\/span>a period of intense experimentation<\/b><\/span><\/p>\n

artistic<\/b><\/span> and cultural ferment in which Guggenheim was determined to establish a museum of modern art in London\u2014a vision she ultimately realized in Venice, in the palace where she chose to live, which today houses her collection.<\/span><\/p>\n","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":21968,"id":21968,"title":"peggy due","filename":"peggy-due-scaled.jpeg","filesize":341953,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-scaled.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-due-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-due-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 08:03:45","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":2560,"height":1920,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-300x225.jpeg","medium-width":300,"medium-height":225,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-768x576.jpeg","medium_large-width":768,"medium_large-height":576,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-1707x1280.jpeg","large-width":800,"large-height":600,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-1536x1152.jpeg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-2048x1536.jpeg","2048x2048-width":2048,"2048x2048-height":1536,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-due-1320x990.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":990}},"didascalia":""},{"titolo_paragrafo":"Within 18 months, \u201cGuggenheim Jeune\u201d became a landmark of the avant-garde","testo_paragrafo":"

In a surprisingly short period of time, <\/span>from January 1938 to June 1939, <\/b><\/span>the \u201cGuggenheim Jeune\u201d became one of the leading centers for the artistic avant-garde of the time in promoting local and international artists, distinguishing itself through a <\/span>bold and experimental program. <\/b><\/span> <\/p>\n

In just eighteen months, the Guggenheim <\/span>organized more than twenty exhibitions<\/b><\/span> and set numerous curatorial records <\/span> and groundbreaking projects linked to the trends of abstraction and surrealism. Among these, <\/span>in addition to the first solo exhibition in the United Kingdom by <\/span>Wassily Kandinsky<\/span>, the inaugural exhibition was dedicated to <\/span>Jean Cocteau<\/b><\/span>, followed by <\/span>the first exhibition in the United Kingdom entirely dedicated to collage<\/b><\/span> featuring works on paper by <\/span>Picasso and Braque<\/span>, <\/span>the 1938 contemporary sculpture exhibition<\/b><\/span> which caused a major scandal with works by Jean Arp that explored abstraction and new ways of working with materials, and which was instrumental in the spread of contemporary sculpture <\/span>in England,<\/span> and <\/span>an exhibition of artwork created by children<\/b><\/span>: \u201cThis collection also included the first known painting of a very young <\/span>Lucian Freud<\/b><\/span> – the curator pointed out <\/span>Gra\u017eina Subelyt\u0117<\/b><\/span>, explaining that this marked the renowned British artist\u2019s debut exhibition. \u2014 Furthermore, <\/span> Many of the works from that exhibition have gone missing, and we’re conducting an investigation<\/span>.\u201d <\/span> <\/p>\n","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":21970,"id":21970,"title":"peggy ter","filename":"peggy-ter-scaled.jpeg","filesize":523975,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-scaled.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-ter-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-ter-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 08:05:44","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":1920,"height":2560,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-225x300.jpeg","medium-width":225,"medium-height":300,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-768x1024.jpeg","medium_large-width":768,"medium_large-height":1024,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-960x1280.jpeg","large-width":800,"large-height":1067,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-1152x1536.jpeg","1536x1536-width":1152,"1536x1536-height":1536,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-1536x2048.jpeg","2048x2048-width":1536,"2048x2048-height":2048,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-ter-1320x1760.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":1760}},"didascalia":""},{"titolo_paragrafo":"A Space for Abstraction, Surrealism, and Women","testo_paragrafo":"

The exhibition begins with key works of abstract art and Surrealism on display<\/span><\/p>\n

during the brief but intense period of activity of \u201cGuggenheim Jeune,\u201d which reflected the main artistic trends underlying the gallery\u2019s program, including the small sculpture <\/span>\u201cHead and Shell\u201d by Jean (Hans) Arp<\/b><\/span> and the large suspended assemblage featuring an umbrella and natural sponges <\/span>\u201cArticulated Cloud\u201d by Wolfgang Paalen<\/b><\/span>. The following rooms are dedicated to the individual exhibitions held in the space, such as the first Surrealist exhibition dedicated to the Danish artist <\/span>Rita Kernn-Larsen,<\/b><\/span> who exhibited more than 30 paintings, such as the self-portrait \u201cwhere a mouth transforms into the leaves of a tree,\u201d he explains <\/span>Subelyt\u0117<\/b><\/span>, as well as the one dedicated to the Russian artist <\/span>Marie Vassilieff<\/b><\/span>, a leading figure in a hybrid and transdisciplinary practice that blurs the boundaries between art, craftsmanship, and design, and the creator of the genre of <\/span>\u201cartistic dolls\u201d<\/b><\/span> handmade, such as <\/span>\u201cThe Devil\u201d<\/b><\/span> and <\/span>\u201cThe Policeman\u201d<\/b><\/span> present<\/span> <\/b>on display. Also standing out are the small earrings made for Peggy by <\/span>Yves Tanguy<\/b><\/span>. One room is also dedicated to color photographic portraits of artists and intellectuals from <\/span>Gis\u00e8le Freund<\/b><\/span>, including the 1977 photograph depicting <\/span>Peggy Guggenheim with Herbert Read<\/b><\/span>. “We are bringing lesser-known artists from that period back into the spotlight, particularly women,” said the curator <\/span>Simon Grant<\/b><\/span>. <\/span> <\/span><\/p>\n","multimedia":"immagine","video":null,"immagine_paragrafo":{"ID":21972,"id":21972,"title":"peggy quater","filename":"peggy-quater-scaled.jpeg","filesize":529717,"url":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-scaled.jpeg","link":"https:\/\/test.gvperte.it\/en\/london-before-venice-the-origins-of-peggy-guggenheims-collection\/peggy-quater-2\/","alt":"","author":"89","description":"","caption":"","name":"peggy-quater-2","status":"inherit","uploaded_to":22029,"date":"2026-09-29 08:07:44","modified":"2026-10-01 14:56:29","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/test.gvperte.it\/wp-includes\/images\/media\/default.png","width":2560,"height":1920,"sizes":{"thumbnail":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-150x150.jpeg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-768x576.jpeg","medium-width":768,"medium-height":576,"medium_large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-768x576.jpeg","medium_large-width":768,"medium_large-height":576,"large":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-2560x1920.jpeg","large-width":800,"large-height":600,"1536x1536":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-1536x1152.jpeg","1536x1536-width":1536,"1536x1536-height":1152,"2048x2048":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-2048x1536.jpeg","2048x2048-width":2048,"2048x2048-height":1536,"mailpoet_newsletter_max":"https:\/\/test.gvperte.it\/wp-content\/uploads\/2026\/09\/peggy-quater-1320x990.jpeg","mailpoet_newsletter_max-width":1320,"mailpoet_newsletter_max-height":990}},"didascalia":""},{"titolo_paragrafo":"Also on display is a Mondrian that has been studied for years","testo_paragrafo":"

There is also a tribute to the historic exhibition \u201c<\/span>Abstract and Concrete Art\u201d<\/b><\/span>, featuring works by artists such as Mondrian, Taeuber-Arp, and Van Doesburg. <\/span> <\/p>\n

On the occasion of the exhibition, Mondrian\u2019s masterpiece is on display<\/span><\/span> \u201c<\/i><\/span><\/span>C<\/span><\/span>Composition No. 1 with Gray and Red, 1938 \/ Composition with Red, 1939 <\/b><\/span><\/span><\/em>\u201d <\/b><\/span><\/span><\/em>which is once again visible to the public<\/span><\/span> <\/b>after<\/b><\/span><\/span><\/em> <\/b>more than five years of restoration and interdisciplinary research <\/span><\/span>launched<\/span><\/span>launched in 2021 by the museum\u2019s conservation department.<\/span><\/span> <\/span><\/span><\/span><\/p>\n

Painted between 1938 and 1940, on the eve of World War II, the painting represents <\/span><\/span>one of the high points of Mondrian\u2019s neoplastic exploration<\/b><\/span><\/span>: a sophisticated composition of<\/span><\/span> <\/span><\/span>area,<\/span><\/span> <\/span><\/span>light<\/span><\/span> <\/span><\/span>and<\/span><\/span> <\/span><\/span>space.<\/span><\/span><\/span><\/p>\n

The conservation work\u2014which was necessary following a restoration carried out in New York in 1968 that had altered the appearance of the artwork\u2014provided <\/span><\/span>an opportunity to deepen our understanding of the work\u2019s spatial and material conception<\/b><\/span><\/span> and to restore its original perceptual qualities. <\/span><\/span> <\/span><\/p>\n

The restoration made it possible to reestablish the balance between matte and reflective surfaces, restoring clarity to the complex spatial composition conceived by the artist. Analyses have shown that the artist created the black lines by <\/span><\/span>multiple overlapping layers of paint and varnish<\/b><\/span><\/span>, repeatedly revisiting his compositions over time to refine proportions, surfaces, and spatial relationships, while the white and colored areas retain visible brushstrokes and matte textures. <\/span><\/span>The final rooms bring together the works of the Surrealist artists and those featured in the collage exhibition, such as the one by <\/span>Hans Hartung,<\/b><\/span> which consists of metal, wire mesh, rope, nails, screws, and glue on paper mounted on a wooden panel, and the work that contains a collection of bird and mammal bones arranged to form the image of a gun made of <\/span>Wolfgang Paalen<\/b><\/span>: \u201cFor some,\u201d he concluded, <\/span>Grant<\/b><\/span> – \u201cSome considered them splendid works; others found them unacceptable. The exhibition left an important legacy.\u201d <\/span><\/span><\/p>\n","multimedia":"video","video":"