Aug 6, 2026 · 42 min · 13 segments
Before Peggy Guggenheim became one of the most influential collectors of modern art—and before Palazzo Venier dei Leoni became her Venetian home and museum—she opened a small but remarkably ambitious…
Gražina SubelytėGuest
Monica CesaratoHost
So how important were figures such as Marcelle Duchamp in shaping her artistic vision?

You know, Peggy Coogan quite famously admitted herself that she couldn't distinguish one thing from another in the art world back then, you know, when she was still learning.

And so Marcel Duchamp was someone that really introduced her to that difference between abstraction and surrealism.

And throughout her life, she came to collect and show works dedicated to both of these tendencies.

You know, Marcel Duchamp also suggested a number of artists for the exhibitions at Guggenheim, Jeanne for Gallery in London, and forged friendships with them, you know, established connections with them.

And at the same time, we talk about people like Samuel Beckett, the Irish playwright.

who was a very dear friend of Peggy Guggenheim's, and he was the one that told her, when she was already in England, that she should concentrate on contemporary art, because it was a living thing, you know, that she shouldn't be looking at the past, you know, and I told you she read the book by Bernd Berenson on Renaissance art, so he told her to abandon it all, and really look at the living artists, you know, work.

Beyond the men like Beckett and Marcel Duchamp, and for instance, the British art critic Herbert Reed, there are also wonderful women like Mary Reynolds, who was an American artist and bookbinder.

And I think another name I really should be remiss not to mention is Wynne Henderson, who I think is often left in the footnotes.

But Win Henderson was actually the single and sole employee of the gallery for its entire existence.

And she also lured artists into the gallery programming, also established connections.

And Peggy Guggenheim called her this kind of Titian beauty with a great capability for remembering people's faces.

So she also found the gallery space and designed its entire graphic identity.

So, yes, you know, kind of there's a whole entourage of people that is surrounding Peggy Guggenheim that she was smart enough, I think, wise enough to listen to.

Because, you know, back in the day, if you can understand that, to understand already then that Marcel Duchamp is really the future, you know, and she makes him really her most important advisor.

That she was astute enough, you know, she was intelligent enough to know this.


I think it was a mix of both of the advisors, what they told her and, you know, combined with her own ideas.

So how important were figures such as Marcelle Duchamp in shaping her artistic vision?

You know, Peggy Coogan quite famously admitted herself that she couldn't distinguish one thing from another in the art world back then, you know, when she was still learning.

And so Marcel Duchamp was someone that really introduced her to that difference between abstraction and surrealism.

And throughout her life, she came to collect and show works dedicated to both of these tendencies.

You know, Marcel Duchamp also suggested a number of artists for the exhibitions at Guggenheim, Jeanne for Gallery in London, and forged friendships with them, you know, established connections with them.

And at the same time, we talk about people like Samuel Beckett, the Irish playwright.

who was a very dear friend of Peggy Guggenheim's, and he was the one that told her, when she was already in England, that she should concentrate on contemporary art, because it was a living thing, you know, that she shouldn't be looking at the past, you know, and I told you she read the book by Bernd Berenson on Renaissance art, so he told her to abandon it all, and really look at the living artists, you know, work.

Beyond the men like Beckett and Marcel Duchamp, and for instance, the British art critic Herbert Reed, there are also wonderful women like Mary Reynolds, who was an American artist and bookbinder.

And I think another name I really should be remiss not to mention is Wynne Henderson, who I think is often left in the footnotes.

But Win Henderson was actually the single and sole employee of the gallery for its entire existence.

And she also lured artists into the gallery programming, also established connections.

And Peggy Guggenheim called her this kind of Titian beauty with a great capability for remembering people's faces.

So she also found the gallery space and designed its entire graphic identity.

So, yes, you know, kind of there's a whole entourage of people that is surrounding Peggy Guggenheim that she was smart enough, I think, wise enough to listen to.

Because, you know, back in the day, if you can understand that, to understand already then that Marcel Duchamp is really the future, you know, and she makes him really her most important advisor.

That she was astute enough, you know, she was intelligent enough to know this.


I think it was a mix of both of the advisors, what they told her and, you know, combined with her own ideas.
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