The application must include the following: (I) a completed
application form; (II) a statement of motivation clearly
articulating the candidate’s reasons for applying;
(III) a CV comprised of relevant information regarding
your education, previous work experience and skills;
and (IV) two reference letters attesting to the candidate’s
academic and professional attributes as well as personal
character. University transcripts may also be included
as evidence of academic competence, however they are
not required. top
Reference letters, together with their respective reference
forms, must be submitted in a sealed and signed envelope,
and included in the application package. They must
be either in English or in Italian. Should the referees
be unable to provide a reference in either language,
a translation must be submitted and signed by the
referee. We recommend to submit both an academic
reference (e.g. from a university professor) and
a professional reference (e.g. from a museum). Although
the letters do not exclusively have to be related
to the art field, referees testifying to the candidate’s
abilities in a related sector are more relevant as
the Peggy Guggenheim Internship Program is an art
A university transcript is an official record of one’s
university qualifications. It itemizes all subjects
studied, together with the marks received and the final
grade point average (GPA). Transcripts may be included
as evidence of academic competence, even though they
are not required. If submitted, they must be in English
or Italian. top
STATEMENT OF MOTIVATION
The statement of motivation should not exceed one A4
page in a 12 point font. top
The application must be postmarked by the deadline
Candidates must be conversationally competent in Italian.
The internship involves daily interaction with an
Italian staff, Italian interns and an often Italian
speaking public. For applicants with little to no
Italian background, it is recommended they show evidence
of their efforts to learn the language (e.g. enrolment
in an Italian language course). top
The internship does not qualify as course credits unless
special arrangements are made with the applicant’s
WHEN IS THE BEST PERIOD TO APPLY FOR THE INTERNSHIP?
As it is a very competitive program with a 1 in 10
success rate, it is best to apply for months outside
the summer holidays (May to August). Many excellent
applicants are declined for this particular period
as there is simply an over-abundance of applications
with very limited places. top
IN WHAT SPECIFIC DEPARTMENT ARE THE INTERNSHIPS OFFERED?
The Peggy Guggenheim Internship Program is not department
specific. It is designed to enable interns to
understand the mechanics of a small museum, to have
an interface with all its staff members, to deal with
the visiting public, and to participate in the daily
running of the museum. Interns’ tasks range from
visitor services, education and support to assisting
various departments of the museum. top
The stipend of €800 per month is designed to cover
basic rent and some living expenses. Travel expenses
are not subsidized. top
frequently asked questions for new interns
Incoming interns are sent a list of available rooms
and apartments three weeks prior to their arrival.
Although this may appear limited in terms of time,
there is rarely a problem in successfully arranging
accommodations prior to their arrival. The rooms and
apartments on the list are regularly rented by PGC
interns and, as interns come and go every month, there
is a regular turnover and exchange. Should interns
wish to view the apartments beforehand, a list of recommended
hotels and hostels will also be provided. The museum
is available for any assistance required, including
liaising between tenant and landlord. top
HOW MUCH WILL IT COST?
Rent varies depending on the apartment (e.g. single
room, double room, apartment, old, new, etc), but
ranges from €400 to €800 per month per
person and may or may not include bills. top
DO I NEED TO PAY A DEPOSIT?
Certain apartments require a deposit that is returned
at the end of the rental period. In such cases, the
deposit is usually the equivalent of one month’s
rent. Please be sure to clarify this matter with
the landlord. top
WHAT ARE THE APARTMENTS LIKE?
Apartments vary substantially. Those on the PGC Housing
List have been inspected by the Intern Coordinator.
They may be a studio, one bedroom, two bedrooms, furnished
simply, furnished with antiques, etc. They may be shared
with other interns or with local residents (e.g. students,
young professionals, and landlords). Photos of some
of the apartments are available. Bed linen and towels
are normally provided and most are equipped with a
washing machine. Apartments, however, generally do
not have a phone/landline or internet access. top
HOW MANY INTERNS PARTICIPATE IN THE PROGRAM?
In 2010 there was a total of 147 participants. Each
month there are about 25 to 35 present at the museum,
5 to 15 of which begin that particular month. top
HOW SHOULD I PREPARE MY SEMINAR?
Seminars should be nearly complete upon arrival in
Venice. They are delivered in the last month of one’s
internship, allowing interns to edit and fine-tune
it once they arrive. As the internship can be quite
demanding, we highly discourage participants from
leaving preparations to the last minute. The seminar
may be dedicated to any aspect of art, art theory,
art criticism, museology, curatorial issues, or specific
exhibitions. It does NOT specifically have to be
about any artist or work of art in the Peggy Guggenheim
Collection. Ongoing projects or theses are usually
good topics. Images may be in the form of a PowerPoint
or other audio-visual supports (video, CD, etc).
As each intern will present their seminar to other
participants in the program, seminars which foster
group discussion are encouraged. It does not need
to be a traditional paper presentation but rather
dynamic and thoroughly researched. The seminar should
last approximately 30 minutes in length. Noteworthy
is the Peggy Guggenheim Collection’s strong
modern/contemporary multi-lingual art library, which
may be of use to one’s research. top
DO I NEED A CELL PHONE?
Cell phones are not a requirement, but are highly recommended
especially since landlines are uncommon. It is possible
to purchase a phone for approximately €60 or
an Italian SIM card for €15 that would function
in a European or triband cell phone. top
WHAT SHOULD I WEAR TO WORK?
There is no work uniform. The museum operates on a
semi-casual dress code. We suggest interns dress
comfortably, but that they remember they represent
the museum and should therefore be dressed appropriately.
Interns are also asked to bring at least one formal
outfit for exhibition openings or special events.
Note that comfortable and practical shoes are essential
for work as well as for walking around Venice. top
WILL I HAVE COMPUTER ACCESS?
Computers with internet access are available for interns.
They are PC formatted and equipped with CD
and USB drives. Note that the Peggy Guggenheim Collection
does not have wireless internet. top
WHEN DO I RECEIVE MY STIPEND?
Stipends are released on the first day of each month
(unless this falls on a weekend, in which case interns
will be paid the following Monday) in the form of
a cheque for €750. Cheques may be cashed at
the Banca Nazionale del Lavoro very close to the
Peggy Guggenheim Collection. To cash this cheque
you do not need to open an Italian bank account,
but must have a passport on hand. top
WHERE SHOULD I HAVE MY MAIL SENT?
Personal mail from family and friends may be sent directly
to the museum and addressed as follows:
c/o Internship Program
Peggy Guggenheim Collection
Palazzo Vernier dei Leoni
note that the Peggy Guggenheim Collection does not
subsidize postage expenses.
DIRECTIONS TO VENICE FROM THE AIRPORT
(I) From Marco Polo Airport take a bus to Piazzale
Roma. There are two options: (a) an ATVO bus that leaves
every 20 minutes from directly outside the terminal,
costs €3 and takes 20 minutes or (b) public bus
#5 that leaves every 30 minutes, costs €2, and
takes 30mins. Tickets may be purchased at the bus stop. Bus
(II) From Piazzale Roma take a vaporetto (public boat)
to the closest stop to your destination. Tickets may
be purchased at the ACTV ticket booth at the Piazzale
Roma vaporetto stop.
Venice is a pedestrian city often described as a labyrinth
of narrow paths, bridges and canals. It is highly recommended
that interns travel with backpacks and suitcases with
wheels and that they have very precise directions to
their respective destinations. top
Interns may want to familiarize themselves with Venice
prior to their arrival. There are a number of useful
guidebooks that may be purchased as well as informative
These websites include the following:
ABOUT THE COLLECTION
The Peggy Guggenheim Collection is a comprehensive collection of modern art exemplifying some of the major art movements of the first-half of the 20th Century. Included within its walls are some of the masterpieces of Cubism, Futurism, Constructivism, Surrealism and Abstract Expressionism.
It is housed in the Palazzo Venier dei Leoni, a 17th century palazzo on the Grand Canal. This long, wide building with only a basement and a ground floor was formely Peggy’s home from 1949 until the year of her death in 1979. She began showing her private collection to the public beginning in 1951. Before her death, she entrusted the collection to the Solomon R. Guggenheim Foundation in New York, but was insistent that it remain in Venice and open for the public to enjoy after she passed away.
There are over 380 works in Peggy’s permanent collection. The museum also exhibits important works from the Gianni Mattioli Collection which represents Italian art from 1910 onwards, with an emphasis on Futurist painting.
The Patsy R. and Raymond D. Nasher Sculpture Garden, other courtyards as well as the Grand Canal terrace exhibit, in addition to works from the Peggy Guggenheim Collection and the Solomon R. Guggenheim Foundation, sculptures on long-term loan from other foundations, estates, artists and galleries. top
PREPARING FOR THE INTERNSHIP
It is wise to prepare for the internship by doing some
reading or research on the collection and the major
art movements represented in it before arriving,
if you are not already familiar with them. As an
intern you are intrinsic to the public education
program of the museum and are therefore asked to
deliver short presentations on the life of Peggy
Guggenheim, on specific works in the Collection,
sculpture gardens and temporary exhibitions. You
will also have the opportunity to deliver detailed
tours of the Collection, the Gianni Mattioli Collection,
the Patsy R. and Raymond D. Nasher Sculpture Garden,
the temporary exhibitions and themes or works of
choice in the Collection. Interns will be sent a
resource package three weeks prior to their arrival. top
RECOMMENDED PEGGY GUGGENHEIM BIBLIOGRAPHY
Peggy Guggenheim, ed., Art of This Century, New York, 1942. Facsimile edition, New York (Arno Press) 1968. Rare.
Peggy Guggenheim, Out of This Century, New York (Universe Books) and London (André Deutsch), 1979. This incorporates earlier autobiographies, as well as her essay on Venice. Italian edition: Una vita per l'arte, Milan (Rizzoli Editore), 1982. Also in French, German and Spanish.
Aline B. Saarinen, The Proud Possessors, New York (Random House), 1958, esp. 'Appassionata of the Avant-Garde. Peggy Guggenheim,' pp.326-43.
Angelica Zander Rudenstine, The Peggy Guggenheim Collection, New York (Abrams), 1985. The catalogue riasonné of Peggy Guggenheim’s Collection.
John H. Davis, The Guggenheims. An American Epic, 1st edition, New York (William Morrow and Co., Inc.), 1978. 2nd edition, updated, New York (Shapolsky Publishers Inc.), 1988.
Lucy Flint and Elizabeth C. Childs, Masterpieces from the Peggy Guggenheim Collection, New York (Guggenheim Museum). Currently in print. (Also Italian, German and French editions). This is the standard collection handbook for the Peggy Guggenheim Collection.
Virginia Dortch, Peggy Guggenheim and Her Friends, Milan (Berenice Art Books), 1994. An anthology of short memoirs by Peggy Guggenheim’s friends.
Laurence Tacou-Rumney, Peggy Guggenheim. A Collector’s Album, Paris, New York (Flammarion), 1996. English, French, German and Italian editions. Rich in photographs.
Karole P. B. Vail, Thomas M Messer, Peggy Guggenheim.
A Celebration, New York (Guggenheim Museum and Harry
N. Abrams), 1998. Centenary exhibition catalogue.
Mary V. Dearborn, Peggy Guggenheim Mistress of Modernism, New York (Houghton Mifflin), 2004, and London (Virago Press), 2005. An excellent biography. Also in German, Ich bereue Nichts, Bergish Gladabch (Bastei Lübbe), 2004.
Susan Davidson and Philip Rylands, eds., Peggy Guggenheim & Frederick Kiesler, The Story of Art of This Century, New York (Guggenheim Publications), 2004. The most important source for the formation of Peggy Guggenheim’s collection and for her New York sojourn, 1941-47.
Irwin Unger and Debi Unger, The Guggenheims. A Family History, New York (Harper Collins), 2005.
Francesco Paolo Campione, ed., Ethnopassion. La Collezione d’Arte Etnica di Peggy Guggenheim, Milan (Mazzotta), 2008. In English and Italian. top
RECOMMENDED GIANNI MATTIOLI COLLECTION BIBLIOGRAPHY
Flavio Fergonzi, The Gianni Mattioli Collection. Masterpieces of the Italian Avant-garde, Milan (Skira), 2003. Italian Edition. Collezione Gianni Mattioli. Capolavori dell’avanguardia italiana. With an essay by Laura Mattioli Rossi. top
RECOMMENDED HANNELORE B. AND RUDOLPH B. SCHULHOF COLLECTION BIBLIOGRAPHY
Philip Rylands, ed., Hannelore B. and Rudolph B. Schulhof Collection, New York (Guggenheim Museum Publications), 2011. top