Peggy Guggenheim: A Life in Art

Opera 2-1025A

Opera 2-1025B

53 x 43

€350.00*

Opera 2-1025B

Opera 1-1025B

53 x 43

€350.00*

Opera 1-1025B

Opera 1-1025A

53 x 43

€350.00*

Opera 1-1025A

Opus Copmpsitum: Opera 7-0925

70 x 50

€850.00*

Opus Copmpsitum: Opera 7-0925

Opus Compositum: Opera 3-0925

70 x 50

€550.00*

Opus Compositum: Opera 3-0925

SOLD

Opus Compositum: Opera 05-0925

74 x 50

€550.00*

Opus Compositum: Opera 05-0925

Opus compositum: Opera 01-0925

75 x 59

€850.00*

Opus compositum: Opera 01-0925

Opus compositum: Opera 02-0925

75 x 70

€550.00*

Opus compositum: Opera 02-0925

Opus compositum: Opera 04-0925

100 x 74

€1,100.00*

Opus compositum: Opera 04-0925

Paris, bohemian life and a piece of advice from Samuel Beckett

In the 1920s, she left New York and immersed herself in bohemian Paris, the city where Ezra Pound, James Joyce and Man Ray were neighbours and art was as essential as the air one breathes. She married the artist Laurence Vail and led a life that was as free as it was turbulent. Her relationships were often passionate, complicated and not infrequently marked by mutual hurt. Among her lovers, for a brief time, was the young Samuel Beckett. He is said to have advised her to concern herself not with the art of the past, but with that of her own time. That single sentence may well have altered the course of modern art history, for Peggy took it literally. Marcel Duchamp became the most important mentor to her artistic eye. He taught her to distinguish between Cubism and Surrealism , introduced her to studios and debates, and helped her to evolve from an enthusiastic amateur into a knowledgeable collector.

A picture a day

In 1938, Peggy Guggenheim opened her first gallery, Guggenheim Jeune, in London. Financially, it was not a success, but it marked the beginning of her career as a collector, gallery owner and patron of modern art. She organised over twenty exhibitions there, including Wassily Kandinsky’s first solo exhibition in London, a monographic exhibition on Jean Cocteau, the first group exhibition on the theme of collage in the United Kingdom, and a much-discussed exhibition of contemporary sculpture. Furthermore, Guggenheim planned to establish the first museum of modern art in London. Together with the art critic Herbert Read, she drew up a list of artists whose works were to form the core of the collection. However, the project came to nothing with the outbreak of the Second World War. Peggy Guggenheim did not abandon her plan. Instead of opening a museum, she decided to acquire the works herself. This gave rise to her famous motto: ‘Buy a picture a day.’

Julia Oleinicenko – Surrealist painting

Surrealism emerged in Paris in the 1920s as an avant-garde art and literary movement. The Surrealists were interested in the unconscious, dreams, fantasies and irrational thoughts. The aim was to transcend the limits of rational perception and to reveal a reality that defies logic.

Maria Magdalena Ianchis – ONCE UPON A TIME THERE WAS LIFE, PERSPECTIVE, 2020/2021

Collage is an artistic technique in which different materials, images or fragments are assembled to form a new overall picture. The term derives from the French word ‘coller’ (‘to stick’). Collage became particularly important in the 20th century with the Dadaists and Surrealists.

Collecting in times of war

The real dramatic turning point came in 1939. Whilst war was sweeping across Europe and many collectors were selling off their collections, fleeing or hiding them, Peggy Guggenheim stuck to her resolve to acquire one work of art every day. Many artists were already on the run or living in a state of existential uncertainty, whilst their works, as modern art, were increasingly coming under the scrutiny of the Nazi regime. As a Jewish woman, Peggy Guggenheim was also at risk. As the German occupation of France drew nearer, she fled to the United States. Concealed amongst furniture and household goods, numerous works by the European avant-garde crossed the Atlantic with her, thus escaping their uncertain fate in Nazi Europe. At the same time, she used her contacts and financial resources to enable artists such as André Breton and Max Ernst – whom she later married – to flee Europe.

New York, Art of This Century and a craftsman from Wyoming

In 1942, Peggy Guggenheim opened the Art of This Century gallery in New York, whose spectacular interior design was created by Frederick Kiesler. Curved walls, unusual lighting effects and works displayed as if floating freely transformed the gallery itself into a work of art and broke with the conventions of the traditional exhibition space.

There she exhibited leading figures of the European avant-garde, including works by artists such as Wassily Kandinsky, Paul Klee, Joan Miró and Max Ernst, whilst also providing a platform for young American artists. Among the artists she supported was Jackson Pollock, a young artist who occasionally carried out repairs at her gallery. She signed him to a contract, supported him with a monthly stipend and, in 1943, organised his first solo exhibition, which attracted considerable attention and marked an important step in his later career.

Criticism as motivation

Not everyone in her circle took her seriously. When Peggy championed Wassily Kandinsky and sought to introduce her uncle Solomon to his work, she turned to his art adviser and confidante, Hilla Rebay. The response was scathing: Rebay described Peggy’s gallery and her taste in art as mediocre and dismissed her judgement as insignificant. Rather than being discouraged, Peggy turned this rejection into motivation. Herbert Read is even said to have advised her to frame the letter and hang it up in her gallery. Art history would ultimately prove Peggy right and show that it is sometimes worth trusting one’s own judgement more than the voices of established authorities.

Venice

In 1949, Peggy Guggenheim finally moved to Venice, into the unfinished Palazzo Venier dei Leoni on the Grand Canal – a house without an upper floor, which became her trademark. She lived there with her collection and her dogs until her death in 1979. The palazzo served as both a home and an exhibition space. Visitors were often welcomed by Peggy herself and guided through the rooms where she lived amongst the works of modern art. The city, itself a museum steeped in history, thus became the final home of a woman who had dedicated her life to the art of her present and future.

A legacy that lives on

Today, the Palazzo Venier dei Leoni, known as the Peggy Guggenheim Collection, is one of Italy’s most visited museums. What was once a private collection is now one of the most significant collections of 20th-century art. Works that Peggy Guggenheim once acquired out of personal conviction are now considered icons of modern art. Her story shows that great collections rarely begin with certainties. They arise from curiosity, confidence in one’s own judgement, and a willingness to take new artistic approaches seriously long before they are widely recognised. Anyone walking through the rooms of the Palazzo today therefore encounters not only masterpieces, but also the decisions of a collector whose vision has had a lasting impact on art history.

Blanker Hans

95 x 115

€3,500.00*

Blanker Hans

Große Erwartungen

165 x 185

€5,800.00*

Große Erwartungen

Die fallenden Glocken

130 x 105

€3,850.00*

Die fallenden Glocken

SOLD

Unterhaltung als mechanisches Bedürfnis

110 x 90

€3,300.00*

Unterhaltung als mechanisches Bedürfnis

SOLD

Ohne Titel

145 x 115

€4,000.00*

Ohne Titel

SOLD

Der Keitumer Glockenturm

185 x 165

€5,400.00*

Der Keitumer Glockenturm

SOLD

Selbstreflektion 1

50 x 60

€1,600.00*

Selbstreflektion 1

Sie schnauben und schäumen

80 x 95

€2,700.00*

Sie schnauben und schäumen

Ringreiter IX

160 x 200

€5,360.00*

Ringreiter IX

SOLD

Vogelfreund ll

165 x 180

€5,400.00*

Get your free art consultation

Vogelfreund ll

Ready for your picture of the day?

Just like Peggy Guggenheim, our passion is promoting emerging and young artists. In our ‘Artist of the Month’ section, we showcase a particularly outstanding talent from the SKM community every month. Do pop by and see for yourself!

Did you also know that you can get free advice from us? Our founder, Erich Reich, will advise you personally on which artwork, artist or style suits you best. He might even share a tip or two....

Frequently Asked Questions

What is the Student Art Market?

Studierenden Kunstmarkt is the leading platform for student art in the German-speaking world. It enables art enthusiasts and art lovers to buy artworks directly from art students, thereby providing them with financial support whilst they are studying.

Who is behind the Student Art Market?

Studierenden Kunstmarkt was founded in 2020 by Erich Reich and his brother. Erich is still the managing director of Studierenden Kunstmarkt and, together with his team, has succeeded in creating a platform that brings together art lovers, those interested in art and art students. To this day, Studierenden Kunstmarkt is entirely self-funded and has not received any external funding from investors.

How many art students and artworks are there at the Student Art Market?

At any given time, there are several hundred art students and several thousand works of art on the Student Art Market. A good place to start if you’re looking for an initial overview of the artists is the ‘Artists of the Month’ section.

How is the student art market funded?

Just like normal galleries, Studierenden Kunstmarkt receives a commission on each artwork sold. This funds the running of the platform, its maintenance and the salaries of Studierenden Kunstmarkt’s staff. In addition, we support the students, are on hand to advise on any queries, and run free advertising for them on Instagram, Facebook, Google and in our email newsletter, which has several thousand art lovers as subscribers.

I’d like to invest in art by young art students. What’s the best way to get started?

There are many ways you can start investing in young artists on the student art market. One option is to sign up for our free email course, ‘Become an Art Expert in 7 Days’. In it, we’ll share a few basics with you, as well as some of our insider tips on which artists have particular potential. Find out more

Take a look at our most popular artists at the Student Art Market

Toninho Dingl

Find out more

Johanna Failer

Find out more

Fancheng Xu

Find out more

Valerie Cee

Find out more

Kaan Ege Önal

Find out more

Tom Gully

Find out more

Eunjeong Kim

Find out more

Drew Mazyck

Find out more

Luna Stender

Find out more

News banner

What sort of pictures are suitable for the kitchen?

Pictures in the kitchen transform a purely functional space into a place where you enjoy spending time. Unlike in the living room, the kitchen is subject to damp, grease vapours and limited wall space between cupboards and the tiled splashback, which is why the subject, size and material should be chosen with greater care than elsewhere in the home. This article shows you which wall art is suitable for the kitchen, how kitchen design and the choice of artwork complement each other, and why a hand-painted original often makes a greater impact than a mass-produced print.

The Female Body and the Gaze in Art History

The female body, often depicted nude, is one of the oldest motifs in art history. From mythological goddesses through the classical nude to contemporary painting, femininity is observed, staged, idealised and desired. However, images do not merely show; they also determine how we see. Who is looking? Who is being looked at? And who decides how a body is depicted?

Peggy Guggenheim: A Life in Art

There are people whose life stories seem to act as a crossroads where the great narratives of an era intersect. Peggy Guggenheim was one such person. Her name is linked to the sinking of the Titanic as well as the love stories of Samuel Beckett, the flight of the European avant-garde from the Nazis as well as the birth of Abstract Expressionism in New York. Her life also tells a piece of world history, seen through the eyes of a woman who was never content merely to be a spectator.

The best online art galleries: a comparison of 10 platforms

Anyone wishing to buy art online now has far more options than they did a few years ago. The range on offer extends from specialised platforms for emerging artists to international marketplaces and traditional mail-order galleries. However, not every platform operates in the same way: some sell works directly from artists, whilst others work with galleries or art dealers. There are also significant differences when it comes to originals, editions, reproductions, advice and returns. In this comparison, we compare ten well-known providers. It is not just the size of the range that is decisive. We also look at where the works come from, how transparent their provenance is, what services buyers receive, and for whom each platform is particularly suitable.

by Erich

A brief history of art: from cave dwellers to the modern era

The award-winning poet Octavio Paz once wrote that the first thing humankind did upon realising its own mortality was to build a grave. With this thought, human creativity begins right at the dawn of history: as a response to the finiteness of life and as a fundamental characteristic of our species. The history of art is thus far more than the history of beautiful images. It tells of humankind’s attempt to understand the world, to capture experiences and to give form to the invisible. From the first handprints on cave walls to the images generated by artificial intelligence in our present day, art has accompanied the development of humankind, changing just as constantly as our understanding of ourselves.

A summer dream blending art and literature

There are themes that recur time and again in art because they cannot be fully resolved: love, death, nature, longing. And then there is summer. For centuries, it has been painted, described, sung about and remembered. Sometimes as a time of abundance and freedom, sometimes as the high point of a cycle of life whose end is already foreshadowed by its very fullness.

What sort of art is best suited to the bedroom?

The bedroom is an intimate space where you want to feel at ease. You spend a lot of time here, during which you aren’t necessarily always consciously aware of your surroundings, but the atmosphere of the room is crucial. Art helps to create a calming atmosphere that makes you feel at ease. But what sort of art is best suited to the bedroom? Above all, art featuring calm, low-contrast motifs and muted, warm or cool shades such as blue, green, beige or terracotta – for example, abstract compositions, minimalist nature motifs or gentle colour-field paintings. More important than the exact motif is that the art complements the overall atmosphere of the room and is chosen in a size that blends harmoniously with the bed and the surrounding wall. A single, high-quality wall hanging above the bed usually has a calmer effect than many small, varied pictures.

6 tips on what to look out for when buying art

The decision to buy a work of art is a very personal one. Of course, you should familiarise yourself with the background of the work and the artist, and you can also buy art purely as an investment – but art remains a subjective matter. This means: trust yourself and your instincts. It’s a choice based on a motif, a mood, a story – and perhaps an artist whose development you’d like to follow over the years. At the same time, the art market can seem rather confusing, especially for beginners: what makes a work valuable? How much should you spend? And how can you tell if an offer is genuine? Here, some tips on buying paintings can be very helpful.

Line, form and contrast – What is abstract art?

‘I could do that too.’ Have you ever found yourself thinking that at an exhibition? We often have this thought when looking at abstract art. Yet what may appear at first glance to be painted at random usually has a deeper meaning. What is abstract art? In short: an art movement that dispenses with the depiction of recognisable objects, people or landscapes and instead works with colour, form, line and composition. Rather than depicting a subject, an abstract work expresses moods, rhythms or inner processes – the meaning arises in the eye of the beholder.