Anno XXXVI, n. 1 RIVISTA DI STUDI ITALIANI Gennaio - Aprile 2018 Tutti i diritti riservati. © 1983 Rivista di Studi Italiani ISSN 1916 - 5412 Rivista di Studi Italiani (Toronto, Canada: in versione cartacea fino al 2004, online dal 2005)

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COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: IN VENICE

VICTORIA SURLIUGA Texas Tech University

or at least five decades in the twentieth century, Peggy Guggenheim (1898 - 1979) built and consolidated her reputation as patron of various artistic movements, gathering masterpieces that ultimately converged in F 1 her Venice Collection in Palazzo Venier dei Leoni . She also contributed to the definition of artistic trends, capturing in her collection the spirit of surrealism, abstract expressionism, and the avant - garde. She had an impact on the career of artists such as Jackson Pollock and by making their presence desirable in the art scene and therefore highly collectable. In her roles as patron and collector, first she founded two art galleries, Guggenheim Jeune in London (1938) and Art of This Century in New York (1942), and later the Peggy Guggenheim Co llection in Venice (1951). While she pursued the artists who triggered her interest, her own aesthetics shaped the vision of the ultimate museum that she wanted to create. Her declaration “ I am not an art collector. I am a musem ” 2 contained an important s tatement that revealed her view of art as a cathartic operation that brought forth her personality. The entire Peggy Guggenheim Collection revolved around her. When she met an artist and saw the artworks, even if she was advised by André Breton, Marcel Duc hamp, and Herbert Read, it was

1 The Peggy Guggenheim Collection includes works by Alechinsky, Bacon, Braque, Calder, Chagall, Dalì, de Chirico, De Kooning, Dubuffet, Er nst, Magritte, Miró, Moore, Picasso, and Rothko, among others. The complete list can be found in Peggy Guggenheim Collection , Foreword by Thomas Krens, New York : Guggenheim Museum Publications, 2009, pp. 244 - 256. 2 Peggy Guggenheim declared, “I am a museum ” , in an interview dated November 1970 - April 1976 and included in Virginia Dortch, Peggy Guggenheim and her Friends , Milano : Automobilia, 1994, p. 15. 359 VICTORIA SURLIUGA ultimately her aesthetic judgment that motivated her selection. While she was following the tradition of her family, she was always on her own because her uncle Solomon R. Guggenheim never helped Peggy in developing her galle ries or the Venice Collection. I n this article, I will analyze Peggy Guggenheim’s legacy and experience starting from her own autobiography, published in three editions (1946, 1960 and 1979) 3 . In the first edition, Peggy Guggenheim created fa lse names to hide the identities of the acquaintances and friends she was interacting with. All names were eventually revealed in the 1960 edition, and remained uncensored in the 1979 version 4 . The 1979 supplements chronicle the events that followed her relocation to V enice, including the creation of the Peggy Guggenheim Collection. In her autobiographies, she adopted a journalistic style of reporting facts in a direct way, without much literary elaboration, and in the straightforward spoken tone of a pragmatic person. It was precisely because “she still wanted to give her own version of how she promoted the works of contemporary artists that s he wrote her own autobiography” 5 . I have taken interest in Peggy Guggenheim’s autobiography insomuch as it is instrumental in ana lyzing her role as patron, collector, art dealer, and active player in the history of modern art. The narrative of her life lays out the uncensored tale of a Jewish American heiress whose personal and unique taste redefined the role of artistic patronage and art collecting, while adding otherwise unknown American and European artists to the canon of modern Western art. Her experience as a collector echoes the theories on patronage outlined in a 1963 New York Times article in which Aline B. Saarinen eloque ntly explains that “each collector [whom she refers to only in the masculine gender] seems to be an artist manqué . His collection is his creative act; an extension of himself indeed, an expression of his ideal image of himself” 6 . W ith her collection in Venice, Peggy Guggenheim reversed the role: instead of hosting a collection in her house, she made her house into a museum (“I am a museum”, indeed). For many years, she did not live in a society or period in history that appreciated her taste. In fact, wh en she first asked for help from her

3 All quotes are from the 1979 edition of Peggy Guggenheim’s autobiography, Out of This Century, Confessions of an Art Addict , New York : Universe Books, 1979. 4 Lisa Rull , “A Biographical Pursuit of Peggy Guggenheim”, in British Association for American Studies , 1, 2001, http://www.baas.ac.uk/issue - 1 - spring - 2001 - article1/. Accessed on August 8, 2014. 5 Herbert Mitgang, “Art Addiction”, in New York Times Book Review , August 26, 1979, p. 35. 6 Adriano Alibe Saarinen, “The Collector and The Collected”, in New York Times , December 15, 1963, p. 242. 360 COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: PEGGY GUGGENHEIM IN VENICE uncle Solomon R. Guggenheim, with the purchase of a Kandinsky, he was appalled that she would ask him to buy a painting from her, but also by the kind of art that she was promoting. Ultimately, the most relevant point w as Peggy Guggenheim’s “willingness to put her money where her faith was”. Eventually, an “enormous change in perception” took place ar ound the art she was promoting, and Weideger points out that “t he works many thought rubbish when she bought them are rega rded as masterpieces today” 7 . Peggy Guggenheim was also able to solve the dichotomy between the cultural and commercial aspects of collecting. She enjoyed meeting the artists, getting to know them, and then including them in her collection. This entire ope ration of acquiring artworks was conducted with persistence and “If Peggy […] had made up her mind that she had to have a certain work by an artist, it was almost impossible to dissuade her” 8 . It was the combination of philanthropic motive, cultural communication, and patronage that constituted the three driving forces of the Peggy Guggenheim Collection. In his F oreword to the catalog of the Peggy Guggenheim Collection, Thomas Krens, Director of The Solomon R. Guggenheim Foundation, has emphasized the philosophy behind the Collection: “This notion of the museum collection as an encyclopedia of masterpieces, representing in its scope and depth the historical passage of a cultural period, has drive n the collecting practices of m ost contemporary institutions” 9 . Peggy Guggenheim had to create specific spaces to gather her artworks and define them as collections only when the spaces themselves had shaped, in turn, a certain cultural meaning around the artworks. She worked in that direction since the early days of Guggenheim Jeune, when she outlined her future intentions of associating both herself and her present/future collections with her family name and legacy. In the French introduction to the exhibit of part of her collection at the Musée de l’Orangerie ( Tuileries ) , Peggy Guggenheim expressed her relief at the idea of having her Collection taken care of in the future, in reference to her 1969 trip to New York, when she finalized the transfer

7 Paula Weideger , “Getting to know the serious Peggy Gugge nheim”, in New York Times , November 15, 1998. 8 Maurizio Vanni (Ed.), Revealing Papers, the Hidden Treasures of the Peggy Guggenheim Collection , Cinisello Balsamo, Silvana Editoriale, 2011, p. 25. 9 Elena Calas - Nicolas Calas ( e ds.), The Peggy Guggenheim Collection of Modern Art , Torino : Edizioni d’Arte Fratelli Pozzo, 1967. Collection edited by Ezio Gribaudo. 361 VICTORIA SURLIUGA of her collection to the Solomon R. Guggenheim Foundation 10 . All together, this process reaffirmed her identity, turning her persona into the equivalent of a public museum. She was not hostile to monetary gain. As her niece Karol e Vail wrote, “in the true Guggenheim fashion, she liked the idea of becoming a patron of the arts – and perhaps also making a profit” 11 . However, the story of her life and interests do not support the idea that she was in it for the money. Peggy Gugge nheim knew the relevance of her Collection. As it is reported, she said, “I have supported the greatest geniuses of my time” 12 . Yet it is also rumored that she starte d collecting art out of boredom 13 . Being a member of the Guggenheim family, she was brought up with an appreciation and desire for acquiring art, and her experience as collector and patron was ingrained in her as the outcome of her adult life. It was her vision that pushed her to promote new artists and new trends beginning with her first London avant - garde gallery on Cork Street, Guggenheim Jeune, which opened in January 1938 with a series of drawings by Jean Cocteau. In addition to her well - known statement about being a museum herself, it is worth quoting Philip Rylands when he observes, “Peggy Guggenheim used to say [to Bernard Berenson] that it was her duty to protect the art of her own time. She dedicated half of her life to this mission, as well as to the creation of the museum in Venice that still carries her name” 14 . As a matter of fact, Peg gy Guggenheim was always interested in constantly expanding the scope of her Collection since the early days of the Art of This Century gallery in New York. As she wrote in her foreword to the 1942 catalog: “I do hope that the next edition will be more com plete and that I shall be able to acquire several other important works that represent phases of the evolution of this art” 15 . In fact, it was the establishment of Art of This Century in October 1942 at 30 West 57 th Street (Guggenheim Jeune was opened in London in 1938 and her move to Venice occurred in 1947) that turned Peggy Guggenheim into a celebrity as well as a collector and art patron. The gallery took its name from the 1942 collection catalog that Peggy Guggen heim had already published in

10 Art du XX siècle . Fondation Peggy Guggenheim Ve nise. Orangerie des Tuleries 30 novembre 1974 – 3 mars 1975 , Paris : É ditions des Musées Nationaux , 1974, p. 34. 11 , Peggy Guggenheim, a Celebration , New York : Guggenheim Museum Publications, 1998, p. 30. 12 Hope Miller, “Guggenheim in Venice”, in Horizon , December 1980, pp. 56 - 63, p. 56. 13 Amel Wallach, “On art, a patron and her bounty”, in Newsday , November 19, 1982, p. B21. 14 Elena Calas - Nicolas Calas, cit., p. 6. 15 Elena Calas - Nicolas Calas, cit., p. 9. 362 COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: PEGGY GUGGENHEIM IN VENICE limited edition. The place had a dual function, to be “a permanent collection and a sellin g gallery with temporary shows” 16 . A 1969 profile described her rise from the New York gallery to the pantheon of art patrons with these words: “Her fierce allegiance to imagination and aesthetic quality are legend. […] What distinguishes her vision is an intense willingness to listen to what others have to say. For Peggy Guggenheim was not simply buying art, she was and is a patron in the greatest sense, aiding artists in their work while helping them to locate their aesthetic center” 17 . It is worth noting that she opened her New York gallery in a time that, on the account of the war, witnessed the decline of Paris as a central place for mo dern art: “The primacy of Paris as art center of the world was at an end. Refugee artists and writers filled New York; the major phase of Peggy Guggenheim’s career as patron was opening”. Her impact as collector and patron pushed several artists to produce their best. Years later, from Venice, “Peggy Guggenheim smile[d] enigmatically; still dispensing her aid to young artists; objecting to the commercial values of the New York art market, refusing to become the keeper of a shrine” 18 . While at first she start ed mainly as an art dealer when she established the galleries Guggenheim Jeune and Art of this Century, she quickly evolved into a collector and patron 19 . She worked on behalf of, among others, Bates, Baziotes, Bréton, Duchamp, Ernst, Mondrian, Motherwell, Picasso, Rothko, and Tanguy, yet it was especially with Pollock that she fulfilled her mission as patron of modern art, setting a pattern that she eventually adopted with other painters. Following the exhibit, The Spring Salon for Young Artists , between Ma y 18 and June 26, 1943, Peggy Guggenheim visited Jackson Pollock, following Howard Putzel’s advice, and decided to give Pollock 150 dollars a month to support his art with the agreement that he would give her everything that he produced. In Italy, Peggy Gu ggenheim bought paintings by Santomaso, Vedova, and other artists such as Pizzinato and Viani who at that time, with art critic Marchiori, were creating the Fronte nuovo delle Arti 20 .

16 Susan Davidson - Philip Rylands ( e ds.), Peggy Guggenheim & Frederick Kiesler, The Story of Art of This Century , New York : Guggenheim Museu m Publications, 2004, p. 18. 17 Harper’s Baazar , 102, January 1969, pp. 118 - 119. 18 Harper’s Baazar , cit. 19 “Peggy Guggenheim Dead; Art Patron”, in The Hartford Courant , December 24, 1979, p. 6A. 20 Ivo Prandin, “Peggy Guggenheim”, in Giovanni Di Stefano - Leopoldo Pietragnoli ( e ds.), Profili Veneziani del Novecento: Mario De Luigi, Peggy Guggenheim, Hugo Pratt, Diego Valeri , V ol. 1, Venezia Lido : Supernova, 1999, pp. 30 - 59, p. 40. 363 VICTORIA SURLIUGA

Later on, the Peggy Guggenheim Museum in Venice completed her remarkable vision of the art world. Even if at first the main reason to create this new venue was to have a more significant exhibit space than the one available at the Venice Biennale, and with the idea of adding more artifacts with time, the legacy of Peggy Guggenh eim’s savvy choice to create her own museum still remains most visible and remarkable. The Solomon R. Guggenheim Foundation acquired the artworks in 1977 but has left the collection in Palazzo Venier dei Leoni on the Canal Grande, thus following the specif ic instructions that Peggy Guggenheim left in her will. It is still widely believed that Peggy Guggenheim benefited from immense funding from her family. In reality, her father left her nothing and her money came from small trusts that her uncles set up fo r her. She inherited a small amount of money from her mother, Florence Seligman. These constraints made her success as a collector even more impressive 21 . Financial considerations were always left on the side, as Peggy Guggenheim’s patronage to artists was driven by aesthetic considerations rooted in talent. Toward the end of the 1950s, she commented on the American art market with these words: “In the twel ve years I have been away from New York everything has changed. I was thunderstruck, the entire art movement had become an enormous business venture. Only a few cared for paintings” 22 . Peggy Guggenheim was aware of having experienced the golden age of Surr ealism and Abstract Expressionism; therefore, the taste she acquired in her formative years made her less appreciative of the new trends in art that took place in the 1960s. She included her considerations about patronage and modern art in lengthy explanat ions contained in the 1979 edition of her biography. She took the first step towards building her presence in Venice by meeting new artists and revitalizing the spaces dedicated to American art at the Bien nale. In 1946, she first met Italian artists Emilio Vedova (1919 - 2006) and Giuseppe Santomaso (1907 - 1990) at All’Angelo restaurant after she had expressed an interest in meeting local painters 23 . Both artists were quite savvy and well aware of the importance that meeting a Guggenheim collector could have fo r their art. Santomaso made it possible for Peggy Guggenheim to meet Rodolfo Pallucchini, the Biennale’s executive director who in turn was able to arrange for her collection to be shown at the Greek pavil ion that was unused at the time 24 . With her presence at the Biennale, Peggy Guggenheim was able to introduce herself to the Venetian and Italian world of modern art. Her main

21 Angelica Zander Rudenstine, Peggy Guggenheim Collection , Venice - New York : Harry N. Abrams, 1985, p. 17. 22 Peggy Guggenheim, cit., pp. 362 - 363. 23 Jacqueline Bograd Weld, Peggy, The Wayward Guggenheim , New York : E. P. Dutton, 1986, p. 363. 24 Peggy Guggenhei m, cit., p. 326. 364 COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: PEGGY GUGGENHEIM IN VENICE complaint at that time seemed to be that Pallucchini, like many others in Italy, was not so familiar with the most recent movements i n Italian and European contemporary art, which included the Surrealists, Brancusi, and Giacometti among others. In the following years, she maintained an important role at the Biennale. “As I am a collector”, she said, “and as I made a point, as long as I could, of buying something at the Biennale, everyone focuses their attention on me” 25 . She acquired the habit of buying a painting or a sculpture at the end of each exhibit to encourage artists to continue creating, as she was aware of the difficulties as sociated with art sales and promotion 26 . The Greek pavilion was ready for Peggy Guggenheim’s art exhibit from June 6 to September 30, 1948 (this happened before the American pavilion was eventually made available to her). The 1948 Biennale was of crucial im portance because it constituted the first attempt to concentrate the entire Peggy Guggenheim Collection in limited spaces on Italian soil. Showcasing her usual wit, Peggy mentioned that she enjoyed mostly seei ng “the name of Guggenheim appearing on the map s in the Public Gardens next to names of Great Britain, France, Holland, Austria, Switzerland, Poland, Palestine, Denmark, Belgium, Egypt, Czechoslovakia, Hungary, Romania. I felt as though I were a new European country” 27 . As Maria Kozslik Donovan wrote: “She has become a venerated institution of Venice; the only individual who was honored by being treated as a country, and given her own pavilion at the Biennale in 1948” 28 . No one knew much about the artists she had chosen, as they were not canonized yet. As a result, her exhibit attracted a lot of attention as Mary Dearborn explained: “The only modern artists widely known in Italy at that time were, besides the Italian futurists, Picasso and Klee; Italians knew nothing of th e surrealists or the new generations of Americans, and Peggy hoped her collection would both shock the crowds and expose them to something new and wonderful” 29 . The Collection did not have a permanent location yet. It was in demand in Italy and found a tem porary location in the Museum of Modern Art in Venice at C a’ Pesaro. Peggy Guggenheim already had a lingering idea of leaving her entire collection in Venice, yet for the time being she could not reach an agreement with the Italian bureaucracy. Eventually, in 1949, the issue was

25 Peggy Guggenheim, cit., p. 356. 26 Art du siècle , cit., p. 27. 27 Peggy Guggenheim, cit., p. 329. 28 Maria Kozslik Donovan, “ An American in Venice ” , in Holiday , 56, January 1975, pp. 46 - 58, p. 58. 29 Mary Dearborn, Mistress of Modernism, The Life of Peggy Guggenheim , Boston - New York : Houghton Mifflin, 2004, p. 266. 365 VICTORIA SURLIUGA solved when an unfinished palace, Venier dei Leoni, was selected as the permanent location for Peggy Guggenheim’s collection. At first, the building brought together the living spaces of Peggy Guggenheim’s house and the collection . Her collection was deeply connected to her public persona and people expected to see her when visiting: “Anyone is welcome to visit the gallery on public days, but some people, not understanding this, think that I should be included as a sight ” 30 . When th e Palazzo was opened to the public and became a museum in 1951, the private quarters (especially the bedroom, the library, and the sitting room) had to be closed to allow some privacy, as the visitors to the collection kept prying into the bedroom, creatin g awkward situations during the day. At first, the house - museum was open to the public on Mondays, Wednesdays, and Fridays from three to five in the afternoon. Guggenheim did not charge admission when the museum was first opened, and income was generated f rom selling catalo g s 31 . The bedroom showcased at least two remarkable Calder mobiles: one, at the head of her bed; the other, as a chandelier. It was especially the house guests who suffered from the situation of having visitors interfere with private space s that should have been closed to the general public. Eventually, more private spaces were closed down, while Peggy Guggenheim’s dining room, because it contained Cubist paintings and 15 th century Venetian furniture, was left open. Parts of the collectio n were often outsourced to exhibits, such as for instance all Pollock paintings in 1950. For this specific event, Peggy Guggenheim eventually had to intervene in securing spaces for the show. She asked to use the Sala Napoleonica in the Correr Museum, wrot e the introduction to the catalog, and hanged the pictures on the wall herself. In a short time, the Peggy Guggenheim Collection quickly became “an obligatory stop - over for an international cultural elite, including Somerset Maugham, Truman Capote, Jean Ar p, Tennessee Williams, Joseph Losey, Jean Cocteau, Igor Stravinsky, or Marlon Brando” 32 . Venice quickly embraced Peggy Guggenheim and in 1962 she received the title of honorary citizen. In 1965 she loaned her entire collection to the Tate Gallery in London , with the expectation, on the part of the British Gallery of eventually inheriting it. But that was not going to happen. In 1967 Peggy Guggenheim was also given the title of Commendatore of the Italian Republic. Her link to Venice was pointed out further on the occasion of her eightieth birthday, when she was celebrated with a banner with her name on it that read, “To the ultima dogaressa” 33 . Her Collection, as Jacqueline Bograd explained,

30 Peggy Guggenheim, cit., p. 340. Emphasis added. 31 Jacqueline Bograd Weld, cit., pp. 374 - 375. 32 Laurence Tacou - Rumney, Peggy Guggenheim, A Collector’s Album , Paris - New York : Flammarion, 1996, p. 12. 33 Peggy Guggenheim, cit., p. 378. 366 COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: PEGGY GUGGENHEIM IN VENICE

“became one of Venice’s tourist attractions, publicized by her book and by the numerous articles written about her, the ultima dogaressa , who was always rec eptive to visiting journalists” 34 . A long negotiation process went on as to who was going to manage the Peggy Guggenheim Collection . The Tate Gallery was on the bid list for some time, with the Fondazione Cini and the Venice Bell’Arte. It took years of extensive planning to arrange for Peggy Guggenheim’s collection to be left in Venice. First, she received a letter written by her cous in Harry Guggenheim in which he said that the collection should have been bequeathed to Italy. As Thomas Messer, Director of The Solomon R. Guggenheim Foundation, wrote: “During these past three years it has been our privilege and our responsibility to con vert a private home with restricted public access to a fully functioning public museum – a process now nearing completion” 35 . In 1969 the Guggenheim Museum in New York made a sharper move to express a direct intention to acquire the Peggy Guggenheim Collec tion in Venice. The next step in donating her collection to the Guggenheim Museum was allowing her to stay in the Venetian Palazzo, while continuing to manage the collection until her death: “Since I have been back in Venice [from New York], I have given f irst the palazzo and after the entire collection to the Guggenheim Museum with the condition that I can live there until I die and administer the collection myself until then” 36 . In 1959 Peggy Guggenheim had established a Peggy Guggenheim Foundation that wa s later dissolved while the Peggy Guggenheim Collection was moved under the administration of the Solomon R. Guggenheim Foundation 37 . Creating a legacy was one of Peggy Guggenheim’s concerns. It is unfortunate that Peggy Guggenheim never got to witness all the interest that her personality and achievements generated in the art world. Very likely it was James Johnson Sweeney – close advisor to Peggy Guggenheim, as well as former director of the Guggenheim Museum in New York who was later appointed by John de Menil as director of the Menil Collection in Houston – who was crucial in getting her into the habit of circulating parts of the collection internationally. While he was director of the Guggenheim Museum, “[Sweeney] had instituted the now common practice of circulating exhibitions drawn from the permanent collection to museums nationwide and overseas, and

34 Jacqueline Bograd Weld, cit., p. 377. 35 60 Works: The Peggy Guggenheim Collection , Intro. by Thomas M. Messer, The Solomon R. Guggenheim Foundation, New York : The Solomon R. Guggenheim Foundatio n, 1982, p. 5. 36 Peggy Guggenheim, cit., p. 372. 37 Jacqueline Bograd Weld, cit., p. 421. 367 VICTORIA SURLIUGA in so doing gained significant international recognition for the museum” 38 . Peggy Guggenheim kept doin g this, benefiting museums worldwide. I t is also noteworthy how , following Sweeney’s lead, she managed to rotate the displays by selecting unique parts of her c ollection . N ot all works were displayed at international locations. A car eful selection was made each time a travelling exhibit was planned. Not only was her collection showcased at the Tate Gallery and the Guggenheim Museum in New York City; among the many places, in the seventies it was also shown at the Galleria Civica d’Arte Moderna e Contemporanea in Turin in 1976, where she was invited by th e renowned artist, art publisher, and art collector Ezio Gribaudo, one of the Museum’s trust ees, who made her show possible 39 . The first request to show the Peggy Guggenheim C ollection in Turin was unsuccessful as it was deemed to be too modern. The 1976 ex hibit was so successful that it stayed open for two extra weeks and had about eighty thousand visitors 40 . The Peggy Guggenheim Collection remains in good hands and her mission as one of the leading art patrons of the 20 th century remains fulfilled. Peggy Guggenheim lived an eventful and interesting life, fully documented in her aut obiography. Thanks to her, the rebel heiress, the one that Baroness Hilla von

38 Pamela G. Smart , Sacred Modern, Faith, Activism, and Aesthetics in the Menil Collection , Austin: University of Texas Press, 2010, p. 54 and Marcia Brennan - Alfred Pacquement - Ann Temkin ( e ds.), A Modern Patronage, de Menil Gifts to American and European Museums , New Haven - London : Yale University Press, 2007 , pp. 22 - 23. 39 Ezio Gribaudo had won the first prize for graphic artists at the 33rd edition of the Biennale in 1966. He was also the editor of several catalogs of the Peggy Guggenheim Collection, including the one edited by Elena and Nicolas Calas published by Edizioni d’Art e Fratelli Pozzo in 1967. Peggy Guggenheim expressed interest in Gribaudo’s work and acquired a folder ( cartella ) of the Logogrifi series (Adriano Olivieri, Ezio Gribaudo, Il Mio Teatro della Memoria , Milano : Skira Edizioni, 2008, p. 75). One of Gribaudo’s works, titled Omaggio a Peggy Guggenheim/Homage to Peggy Guggenheim (1965) is included in Maurizio Vanni ( e d.), Revealing Papers, the Hidden Treasures of the Peggy Guggenheim Collection , Cinisello Balsamo : Silvana Editoriale, 2011, p. 102. Ezio Gribaudo’s Incontro con Peggy Guggenheim a Venezia (1965) can be found in Peggy Guggenheim News 16, Dec. 2011 - March 2012. On Ezio Gribaudo’s collaboration with Peggy Guggenheim, see Victoria Surliuga, Ezio Gribaudo: The Man in the Middle of Modernism , New York - London: Glitterati, 2016, pp. 230 - 243. 40 Paolo Barozzi, Peggy Guggenheim: Una donna, una collezione , Venezia , Pasian di Prato : Campanotto, 2011 , p. 94. 368 COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: PEGGY GUGGENHEIM IN VENICE

Rebay (advisor to Solomon R. Guggenheim) never trusted enough to be loaned money for the creation of her own museum, the international presence of the Solomon R. Guggenheim Foundation has thrived in Venice. Despite the difficulties she had to overcome , Peggy Guggenheim’s talent as a collector and patron prevailed; she left a lasting legacy in Venice that has turned her into one of the most prominent benefactors to the city and a remarkable honorary citizen.

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BIBLIOGRAPHY

Art du XX siècle. Fondation Peggy Guggenheim Venise . Orangerie des Tuleries 30 novembre 1974 – 3 mars 1975, Paris: Éditions des Musées Nationaux, 1974. Barozzi, Paolo. Peggy Guggenheim: Una donna, una collezione , Venezia , Pasian di Prato: Campanotto, 2011. Bograd Weld, Jacqueline. Peggy, The Wayward Guggenheim , New York: E. P. Du tton, 1986. Brennan, Marcia - Alfred Pacquement - Ann Temkin (Eds.). A Modern Patronage, de Menil Gifts to American and European Museums , New Haven - London : Yale University Press, 2007. Calas, Elena - Nicolas Calas (Eds.). The Peggy Guggenheim Collection of Modern Art , Torino: Edizioni d’Arte Fratelli Pozzo, 1967. Collection edited by Ezio Gribaudo. Davidson, Susan - Philip Rylands (Eds.). Peggy Guggenheim & Frederick Kiesler,The Story of Art of This Century , New York: Guggenheim Museum Publications, 2004. Dear born, Mary. Mistress of Modernism, The Life of Peggy Guggenheim , Boston - New York: Houghton Mifflin, 2004. Di Stefano, Giovanni - Leopoldo Pietragnoli (Eds.). Profili Veneziani del Novecento: Mario De Luigi, Peggy Guggenheim, Hugo Pratt, Diego Valeri , Vol. 1, Venezia Lido: Supernova, 1999. Kozslik Donovan, Maria. “An American in Venice”, in Holiday , 56, January 1975, pp. 46 - 58. Dortch, Virginia. Peggy Guggenheim and Her Friends , Milano : Automobilia, 1994. Guggenheim, Peggy. Out of This Century, Confessions of an Art Addict , New York: Universe Books, 1979. _____. Confessions of an Art Addict , New York: Macmillan, 1960.

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_____. Out of This Century, The Informal Memoirs of Peggy Guggenheim , New York: The Dial Press, 1946. _____. Art of This Century, Paintings, Sculpture, Collages (1910 to 1942) , New York: Art Aid Corporation, 1942. Harper’s Baazar , 102, January 1969, pp. 118 - 119. Miller, Hope. “Guggenheim in Venice”, in Horizon , December 1980, pp. 56 - 63. Mitgang, Herbert. “Art Addiction”, in New York Times Book Review , August 26, 1979: 35. Olivieri, Adriano. Ezio Gribaudo, Il Mio Teatro della Memoria , Milano : Skira Edizioni, 2008. Prose, Francine. Peggy Guggenheim: The Shock of the Modern , New Haven - London: Yale University Press, 2016. Peggy Guggenheim Collection , Foreword by Thomas Krens, New York, Guggenheim Museum Publications, 2009. “Peggy Guggenheim Dead; Art Patron”, in The Hartford Courant , December 24, 1979, p. 6A. Peggy Guggenheim News 16, Dec. 2011 - March 2012. Leaflet. Rull, Lisa. “A Biographic al Pursuit of Peggy Guggenheim”, in British Association for American Studies , 1, 2001, http://www.baas.ac.uk/issue - 1 - spring - 2001 - article1/. Accessed on August 8, 2014. Saarinen, Adriano Alibe. “The Collector and The Collected”, in New York Times , December 15, 1963, p. 242. 60 Works: The Peggy Guggenheim Collection , Intro. by Thomas M. Messer, Director, The Solomon R. Guggenheim Foundation, New York: The Solomon R. Guggenheim Foundation, 1982. Smart, Pamela G. Sacred Modern, Faith, Activism, and Aesthetic s in the Menil Collection , Austin: University of Texas Press, 2010. Surliuga, Victoria. Ezio Gribaudo: The Man in the Middle of Modernism , New York - London: Glitterati, 2016. Tacou - Rumney, Laurence. Peggy Guggenheim, A Collector’s Album , Paris - New York: Fla mmarion, 1996. Vail, Karole. Peggy Guggenheim, a Celebration , New York: Guggenheim Museum Publications, 1998. Vanni, Maurizio (Ed.), Revealing Papers, the Hidden Treasures of the Peggy Guggenheim Collection , Cinisello Balsamo : Silvana Editoriale, 2011. Wal lach, Amel. “On Art, a Patron and Her Bounty”, in Newsday , November 19, 1982, p. B21. Weideger, Paula. “Getting to Know the Serious Peggy Guggenheim”, in New York Times , November 15, 1998. Zander Rudenstine, Angelica. Peggy Guggenheim Collection , Venice - New York: Harry N. Abrams, 1985. 370 COLLECTOR, ART PATRON, AND CREATOR OF MUSEUMS: PEGGY GUGGENHEIM IN VENICE

I LLUSTRATIONS

Ezio Gribaudo. Omaggio a Peggy Guggenheim / Homage to Peggy Guggenheim , 1965, flong, tempera, 58 x 45 cm. Solomon R. Guggenheim Foundation, 2011.28. Courtesy of the Gribaudo Archives .

371 VICTORIA SURLIUGA

Ezio Gribaudo. Incontro con Peggy Guggenheim a Venezia , 1965, flong and mixed media, 40 x 60 cm . C ourtesy of the Gribaudo Archives .

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