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The Art of This Century Gallery Collage

The Art of This Century Gallery - History and Importance

Opened: 1942
Closed: 1947
The Art of This Century Gallery Timeline


In 1898, Marguerite Guggenheim was born into wealth and prosperity. Her father, Benjamin Guggenheim, was director of the Guggenheim family's industrial mining and smelting interests, and her uncle Solomon R. Guggenheim was the founder of the Museum of Non-Objective Art, which came to be known as the Solomon R. Guggenheim Museum.

Home schooled and sheltered from the outside world for most of her childhood, Peggy cultivated an independent and bohemian life that transgressed the upper-class norms of her family. In 1919, Guggenheim inherited a large sum of money from her family trust and moved to Paris, where she began subsidizing the work of several artists and writers.

By 1938, Peggy was living in London and opened the Guggenheim Jeune Gallery, a modern art gallery that became famous for an exhibit of the artist Jean Cocteau curated by Marcel Duchamp. Receiving much curatorial guidance from Duchamp, the Guggenheim Jeune Gallery also exhibited works by Kandinsky, Calder, Arp, Ernst, Picasso, and Miró.

Guggenheim had plans to start a museum of her own in London, but after the outbreak of World War II, she decided the venture would be too difficult. Nonetheless, she continued traveling to Paris to collect works of art from the likes of Giacometti, Magritte, and Braque. In 1940, only days before the German invasion of Paris, Guggenheim left for New York City along with hundreds of her artworks and her soon-to-be husband Max Ernst.

Art of This Century Opens

Using the many works of art she had acquired in Paris, Guggenheim opened her Art of This Century Gallery in October 1942 in the heart of the uptown gallery world on West 57th Street. Three of the rooms held Guggenheim’s personal collection and were divided into the “Kinetic Gallery,” the “Surrealist Gallery,” and the “Abstract Gallery.” The “Daylight Gallery” was home to rotating, temporary exhibitions. The gallery's initial displays showcased the work of European Surrealists and Cubists. According to the press release on the gallery’s opening, it was to be a “research laboratory for new ideas” and to “serve the future instead of recording the past.”

Guggenheim entrusted Austrian architect Frederick Kiesler with designing the interior of the gallery. He created concave walls and protruding, razor-thin wooden frames in the middle of the gallery space, which gave the hanging canvases a free-floating effect. Guggenheim and Kiesler believed that each painting should literally stand on its own and not be bound to the wall. A review of the opening in Time magazine described the inventive interior: “Beyond the painting library, gallery-goers enter a kind of artistic Coney Island. Here are shadow boxes, peepholes, in one of which, by raising a handle, is revealed a brilliantly lighted canvas by Swiss painter Paul Klee. Another peep show, manipulated by turning a huge ship's wheel, shows a rotating exhibit of reproductions of all the works, including a miniature toilet for MEN, by screwball Surrealist Marcel Duchamp. Beyond these gadgets mankind swarms into what seems to be a decorated subway. There spectators gaze at large canvases by England's Leonora Carrington, Spain's Joan Miró, Chile's Roberto Matta, all their works unframed, suspended in the air from wooden arms protruding from concave plywood walls. Every two minutes, while onlookers enjoy the spectacle, a roar as of an approaching train is heard, lights go out on one side of the gallery, pop on at the other.”

Kiesler felt that with the chaos of the modern world, we “must be architects of a new unity.” This physically interactive display of art works has seldom been replicated, but it was an enormous revelation to the young artists struggling to find their voices in New York City.

The Uptown Group

With the advice from her advisor Howard Putzel, whom she befriended while in Paris in the company of Duchamp, the gallery soon began representing young American artists like Jackson Pollock, Clyfford Still, and Robert Motherwell. For a number of reasons, many American artists did not participate in World War II and struggled to make their ways as artists after the shuttering of the WPA’s Federal Fine Arts Program. In the early 1940s, a small and largely disorganized group of artists found themselves without suitable venues to show their work, until the opening of Peggy Guggenheim's gallery. Sometimes called The Uptown Group by downtown artists who did not have gallery representation, its unofficial membership included Pollock, Lee Krasner, Adolph Gottlieb, Motherwell, Mark Rothko, Clyfford Still, and Ad Reinhardt.

Perhaps most consequentially, on the advice of Marcel Duchamp and Piet Mondrian, her trusted advisors, Guggenheim became Pollock’s patron. Paying him a monthly stipend, Guggenheim had first choice of the paintings he made. This arrangement allowed Pollock and Krasner to leave the city and buy a house in Springs, the working-class enclave in East Hampton on the south fork of Long Island, in 1945. Guggenheim also commissioned Pollock to paint a mural for the entryway to her apartment and gave him his first one-person show in 1943, which many critics, including Clement Greenberg, received favorably.

Important Exhibitions

During its short existence, The Art of This Century Gallery hosted a number of important exhibitions. In January 1943, artists such as Alice Trumbull Mason, Gypsy Rose Lee, Frida Kahlo, Dorothea Tanning, Hedda Sterne, and many others were included in Exhibition by 31 Women. This show was the first of its kind, devoting the gallery space exclusively to Modern women artists, most of whom were operating in New York. When Guggenheim dispatched Max Ernst, her husband at the time, to select paintings for the exhibition, one of Ernst's favorites was a self-portrait by Dorothea Tanning, which he named Birthday. Ernst and Tanning had a love affair, which led to Ernst resigning from his advisory role at Art of This Century and his eventual divorce from Guggenheim in 1946. The show did not garner much press, and one critic reportedly refused to cover it because he didn’t think there were any women artists worthy of attention.

Pollock’s first solo show ran in November of 1943, and he was the first of his generation of Abstract Expressionist artists to exhibit regularly and earn a living solely from his art. Museum of Modern Art curator James Thrall Soby visited the exhibition and was instantly amazed by Pollock's work. Consequently, the painting She-Wolf was purchased by the Acquisitions Committee at the Museum of Modern Art and placed in its permanent collection. Guggenheim was so enamored with Pollock's paintings that when she transferred representation of her artists over to Betty Parsons in 1947, she wrote Parsons a letter to personally thank her for taking on Pollock and giving him his own show at the new gallery. Guggenheim did this service for no other artist.

Additionally, early shows for William Baziotes, Robert De Niro, Sr., Mark Rothko, Clyfford Still, and Richard Pousette-Dart helped to establish the nascent Abstract Expressionist group.

Guggenheim Returns to Europe

In 1947, wanting a fresh start, Guggenheim closed down The Art of This Century and moved back to Europe, settling in Venice. Before leaving New York for good, Guggenheim found new representation for her many American artists at the Betty Parsons Gallery, which had opened one year prior on East 57th Street, not far from Art of This Century. In 1948, Guggenheim’s collection was given a privileged place in the Venice Biennale, and her collection, housed in a Venetian palazzo, eventually opened to the public in the early 1950s and remains one of the most popular destinations in Venice.


Throughout her life, Peggy Guggenheim gave away much of her private collection. The works she acquired in the 1930s and 40s in particular, with the counsel of Duchamp and Ernst, were among the finest modern artworks of the 20th century. Her Art of This Century Gallery, despite being open for only five years, was renowned for being the primary gallery that gave many Abstract Expressionists their very first opportunity to show their art to the public.

Kiesler’s interior design did not seem to have immediate effects on other galleries, and in fact the curving walls were sold to a clothing store. Curving gallery walls wouldn’t be seen again until the late 1950s when the new building created by Frank Lloyd Wright for the Solomon R. Guggenheim Museum opened its doors.

The Most Important Art in The Art of This Century Gallery

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Content compiled and written by The Art Story Contributors

Edited and revised, with Summary and Accomplishments added by Valerie Hellstein

"The Art of This Century Gallery Venue Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by The Art Story Contributors
Edited and revised, with Summary and Accomplishments added by Valerie Hellstein
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First published on 20 Apr 2018. Updated and modified regularly
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