What department will I be in?
The International Fellowship Program is non-departmental, meaning you will not be assigned to a single team. Instead, you will be involved in a range of activities across the museum, giving you a broad understanding of the activities of a small private museum.
All fellows contribute to public-facing roles, including supporting the Visitor Services and Education departments. Through stewarding and cultural mediation, you will help welcome an international audience and support their engagement with the collection and temporary exhibitions.
A central aspect of the fellowship involves promoting the educational mission by preparing and delivering talks on Peggy Guggenheim’s life, career, and collection, as well as on selected artworks and the temporary exhibitions. You will be given dedicated time for study and research, with full access to the museum’s library and resources to help you prepare.
There may also be opportunities to further support the Education Department through public programs such as workshops for children or initiatives for accessibility and social inclusion. Depending on your interests and the museum’s needs, you may assist with specific projects in other departments.
This combination of study and applied activities is designed to offer hands-on experience, foster meaningful connections with both staff and visitors, and provide full immersion in the daily rhythm of museum life.
What other activities can I look forward to?
The fellowship offers many opportunities for learning and engagement. Each cohort enjoys a welcome tour of the permanent collection and throughout the month takes part in staff-led presentations that provide insight into how the museum operates and the roles of its different teams.
Each month, a range of exciting extracurricular activities is organized, with the full calendar shared on Onboarding Day upon your arrival in Venice. These include guided visits or trips to cultural sites of interest within Venice and the surrounding area. These activities are intended to provide opportunities to explore the local art scene and connect with your peers.
Towards the end of the program, each fellow delivers a 20-minute seminar on a topic of their choice. This can cover any aspect of art, art theory, art criticism, museology, curatorial studies, or specific exhibitions. Ongoing creative projects or presentations of university theses are warmly welcomed, and we encourage you to be creative with your presentation style.
Throughout each cycle, informal social events bring the group together, creating moments to exchange with your peers, build friendships, and enjoy the experience of discovering the city of Venice!
How is the program structured?
The program is full-time, with fellows expected to be onsite and engaged in museum activities for at least five days each week. The museum is usually closed on Tuesdays, and you are not required to be present—this day is often used for trips and visits around the city and surrounding area.
Occasionally, extracurricular or special events may take place outside regular hours.
How can I prepare in advance?
During your period at the Peggy Guggenheim Collection, you will have a fundamental role supporting the museum’s educational programs. You will deliver short presentations on the life of Peggy Guggenheim, on specific works in the permanent collection. and on the temporary exhibitions, and you may also give tours.
We strongly recommend you get prepared by doing some reading or research on the collection and the art movements represented, especially if you are not already familiar with them.. You will receive some study materials the month before your arrival, and there are many useful resources available on the website that we encourage you to explore: explore
Before your arrival, you will also need to complete a mandatory online Security and Safety Training, for which you will receive a link and individual login credentials.
How should I prepare my seminar?
We recommend having your seminar mostly ready by the time you arrive in Venice. You will present it to your cohort toward the end of your fellowship, giving you some time to revise and polish your presentation. You will have access to the museum library and resources to support your research.
Given the intensive nature of the Fellowship Program, it is best to start early and avoid leaving your preparation until the last minute. Your seminar should last about 20 minutes and can cover any aspect of art, theory, criticism, museology, curatorial studies, or your own ongoing creative projects or theses.
You can be creative with the delivery of your seminar; it does not have to be a traditional lecture or PowerPoint slide show. Presentations that stimulate discussion and interaction are encouraged!
What should I wear to the museum?
We encourage you to bring your own personal style! The museum follows a semi-casual dress code, so comfortable, neat clothing suitable for being active within the museum is best. Remember that you are representing the museum, so dressing appropriately is important. Please also bring at least one formal outfit in case of special institutional events.
Comfortable and practical shoes are essential, both for within the museum and for navigating the city of Venice!
Will I have access to a computer?
Laptops are available and WiFi is available throughout the museum.
Will I receive any assistance in looking for accommodation?
It is your responsibility to find and secure accommodation for your time at the museum. About one month before your arrival, you will receive a list of potential rooms and apartments in Venice, including landlords’ contact details, to assist you in your search. You will also be put in touch with other participants arriving in the same month, should you want to look together.
Due to monthly rotation of fellows and short-term agreements, the museum cannot provide this information sooner. The museum inspects the rooms on the list, which are regularly rented by participants of the Fellowship Program.
Once you receive the list, you can request some images and contact the landlords directly. All rental agreements are between you and the landlord. We will also share suggestions for hotels and hostels for temporary stays.
How much does rent cost?
Rent prices in Venice vary depending on the size, type, and features of the accommodation—for example, whether it is a single or double room, a shared apartment, or a private studio. Monthly rent typically ranges from €500 to €1000 per person, with the average cost for a single room around €600.
This price may or may not include utilities, so it is important to clarify all details with the landlord before finalizing any agreement.
Do I need to pay a deposit?
Some landlords may request a deposit, which is typically refunded at the end of your stay, provided there are no damages or unless alternative arrangements have been agreed upon. This is often equivalent to one month’s rent, but the amount may vary. Be sure to confirm all details directly with the landlord before finalizing your agreement.
What are the apartments like?
Accommodation in Venice varies widely in size, style, and amenities. The listings shared with you include a range of options—from single rooms to shared apartments, private studios, and some university housing is available in the summer months. These may be furnished to different standards and could be shared with other fellows or with residents such as students, young professionals, or landlords.
Most places include basic amenities such as bed linen, towels, Wi-Fi, and access to a washing machine.
Venice is a walkable city with a reliable vaporetto (waterbus) system, so reaching the museum from most areas is generally straightforward, whether on foot or public transport.
Can I look for accommodation not on the housing list?
Yes, you are welcome to look for accommodation independently. If you choose to do so, we strongly encourage you to exercise caution and be mindful of potential rental scams before transferring any money.
When can I expect to receive the fellowship funding?
You will receive the €1000 fellowship in the form of a cheque on the first weekday of each month.
Cheques can be cashed at the Banca Nazionale del Lavoro, close to Piazza San Marco. There is no need to open an Italian bank account: all you need is your passport or legal ID.
Is there a kitchen or lunch area in the museum?
The museum features a kitchen available for fellows, shared with some staff, which includes a fridge and microwave. You will also have access to the Student Room where you can relax, socialize, and eat.
Fellows are welcome to leave the museum during the lunch break if they prefer to eat outside, and you will also receive a discount at the museum café.
Where should I have my mail sent?
Personal mail from family and friends can be sent to the museum to the following address:
Your Name
c/o Fellowship Program
Peggy Guggenheim Collection
Palazzo Vernier dei Leoni
Dorsoduro 701
30123 Venezia
Italy
The museum does not subsidize postage expenses. We ask that you do not have large packages sent to the museum; should this be necessary please let the Fellowship Coordinators know in advance.
How do I travel around Venice?
Venice is a walkable city, and most places—including the museum—can be reached easily on foot.
The city is also well connected by vaporetti (water buses), which run along the Grand Canal and to other islands in the lagoon.
You may wish to purchase a pass (abbonamento) from ACTV, the local transport authority, which offers significantly discounted rates for regular travel. This can be especially helpful if your accommodation is further away or if you’d like to explore more of the city and surrounding areas.
Please note that the museum does not have a partnership or discount agreement with ACTV.
How can I stay in touch with the museum?
After completing the Fellowship Program, you will be invited to join the international network of fellowship alumni. This community stays connected through occasional updates about museum news, events, and opportunities. It’s a great way to maintain a professional connection with the Solomon R. Guggenheim Foundation, the Peggy Guggenheim Collection, and other former participants of the program.
About the museum
The Peggy Guggenheim Collection is one the most important museums of European and North American art of the twentieth century in Italy. It comprises masterpieces of Cubism by artists including Georges Braque and Pablo Picasso, Futurism by Giacomo Balla and Gino Severini, European abstraction by Vasily Kandinsky, Kazimir Malevich, and Piet Mondrian, Surrealism by Salvador Dalí, Max Ernst, Leonor Fini, René Magritte, and Yves Tanguy, American Abstract Expressionism by Grace Hartigan, Robert Motherwell, Jackson Pollock, and Mark Rothko. Likewise, it presents works by some of the greatest sculptors of the twentieth century, such as Constantin Brancusi, Alexander Calder, Alberto Giacometti, Germaine Richier. The museum also shows the Hannelore B. and Rudolph B. Schulhof Collection, a bequest to the Solomon R. Guggenheim Foundation, New York, comprised of works of postwar European and North American art by Alberto Burri, Jean Dubuffet, Ellsworth Kelly, Agnes Martin, Frank Stella, Cy Twombly, Andy Warhol, among others. The Nasher Sculpture Garden and the Schulhof Sculpture Garden include works by artists such as Eduardo Chillida, Barbara Hepworth, and Jenny Holzer.
The museum was created by the American collector and patron of the arts Peggy Guggenheim (New York, 1898–Venice, 1979). In 1949 in Venice, following the closing of her New York museum/gallery, Art of This Century—where she exhibited her collection and gave shows to young American artists, including women artists—Guggenheim purchased Palazzo Venier dei Leoni, where she lived for thirty years until her death. During her lifetime, Guggenheim donated her collection and her home to the Solomon R. Guggenheim Foundation, which has been managing the museum since 1980
Recommended reading on Peggy Guggenheim and Her Collection
By Peggy Guggenheim
Peggy Guggenheim, ed., Art of This Century; Objects – Drawings. Photographs – Paintings – Sculpture – Collages, 1910-1942 (New York: Art Aid, 1942). Facsimile edition, (New York: Arno Press, 1968). Rare. Accessible on Internet Archive by making a free account: https://archive.org/details/artofthiscentury00gugg
Peggy Guggenheim, Out of This Century: Confessions of an Art Addict (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. Accessible on Internet Archive by making a free account: https://archive.org/details/outofthiscentury00gugg
On Peggy Guggenheim and Her Collection
Peggy Guggenheim & Frederick Kiesler, The Story of Art of This Century, ed. Susan Davidson and Philip Rylands (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.
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 Gladbach: Bastei Lübbe, 2004). Accessible on Internet Archive by making a free account: https://archive.org/details/mistressofmodern0000dear/mode/2up
Virginia Dortch, Peggy Guggenheim and Her Friends (Milan: Berenice Art Books, 1994). An anthology of short memoirs by Peggy Guggenheim’s friends.
Judith Mackrell, The Unfinished Palazzo: Life, Love and Art in Venice: the Stories of Luisa Casati, Doris Castlerosse and Peggy Guggenheim (London: Thames & Hudson, 2017).
Francine Prose, Peggy Guggenheim: The Shock of the Modern (New Haven: Yale University Press, 2015).
Aline B. Saarinen, The Proud Possessors (New York: Random House, 1958), esp. 'Appassionata of the Avant-Garde. Peggy Guggenheim,' pp.326-43. Accessible on Internet Archive by making a free account: https://archive.org/details/proudpossessorsl00insaar/mode/2up
Laurence Tacou-Rumney, Peggy Guggenheim. A Collector’s Album (Paris, New York: Flammarion, 1996). English, French, German and Italian editions. Rich in photographs. Accessible on Internet Archive by making a free account: https://archive.org/details/peggyguggenheimc0000taco/mode/2up
Irwin Unger and Debi Unger, The Guggenheims. A Family History (New York: Harper Collins, 2005).
Catalogues of the Peggy Guggenheim Collection
Angelica Zander Rudenstine, The Peggy Guggenheim Collection (New York: Abrams, 1985). The catalogue raisonné of Peggy Guggenheim’s Collection. Accessible on Internet Archive by making a free account: https://archive.org/details/peggyguggenheimc0000pegg/mode/2up
Karole P. B. Vail, Thomas M Messer, Peggy Guggenheim. A Celebration (New York: Guggenheim Museum and Harry N. Abrams, 1998). Centenary exhibition catalogue. Accessible on Internet Archive by making a free account: https://ia800402.us.archive.org/24/items/peggyg00vail/peggyg00vail.pdf
Peggy Guggenheim: The Last Dogaressa, ed. Vivien Greene and Karole P.B. Vail (Venice: Marsilio, 2019). Catalogue of the exhibition held at the Peggy Guggenheim Collection in 2019–2020. It explores all aspects of Peggy Guggenheim’s career as a collector and patron of the arts.
Migrating Objects: Arts of Africa, Oceania and the Americas in the Peggy Guggenheim Collection, ed. Vivien Greene (Venice: Marsilio, 2020). Catalogue of the exhibition held at the Peggy Guggenheim Collection in 2020. Explores Peggy Guggenheim’s interest in art from Africa, Oceania and the Americas starting in the 1950s.
Philip Rylands, Gražina Subelytė, and Karole P.B. Vail, eds, The Peggy Guggenheim Collection (Venice: Solomon R. Guggenheim Foundation, 2024).
Recommended Hannelore B. and Rudolph B. Schulhof Collection Bibliography
Hannelore B. and Rudolph B. Schulhof Collection, ed. Philip Rylands, (New York: Guggenheim Museum Publications, 2016).