Peggy Guggenheim

This slim volume has only one fault. It has no illustrations. So you’ll have to do some Googling or visit the current Duchamp exhibition at MoMA (until 22 August) if you want to know what ‘The Bride Stripped Bare by Her Bachelors, Even’ looks like. Otherwise it’s perfect – wittily written and packed with many fascinating characters besides the ever intriguing Marcel Duchamp. He didn’t actually arrive in New York until 1915, but when he did he found himself already famous. His ‘Nude Descending a Staircase, No. 2’ had been included in the 1913 International Exhibition of Modern Art, alongside works by Picasso, Van Gogh, Gauguin, Matisse and Braque, and completely stole the show. Duchamp didn’t even know the painting was being exhibited.

I received this book for review on the same day that Dorothea Tanning was making headlines in the auction world, breaking records with the sale at Christie’s of a tiny but key early work for more than £4 million. Her prices have risen an astonishing sevenfold in the past year, as collectors cotton on to her significance as a Surrealist; and while she may still be trailing on Leonora Carrington’s coat-tails, she looks to be steadily catching up.   Born in America to Swedish parents, Tanning was the very model of a fiercely independent artist, and her works are singular and disquieting like few others. She was largely self-taught as a painter and developed a virtuoso technique.

In September 1940 the Dutch abstract artist Piet Mondrian arrived in New York, a refugee from war and the London Blitz. He was 68, a well known figure in modern art circles in Europe but as yet little appreciated on the other side of the Atlantic. His visas, his travel and his accommodation had been sorted out for him by well-wishers in Britain and he was welcomed in America by Harry Holtzman, an artist some 40 years his junior. On the evening of his arrival, Holtzman entertained the stiff, fastidious, well-dressed Mondrian to dinner in his apartment and introduced him, via the phonograph, to boogie-woogie. He recalled: Mondrian’s response was immediate, he clapped his hands together with obvious pleasure. He sat in complete absorption to the music, saying, ‘Enormous! Enormous!

Hard by the Rialto, in a densely packed and depressingly tacky quarter of Venice, the church of San Giovanni Cristosomo houses one of Giovanni Bellini’s most luminous and exquisite paintings. ‘I Santi Cristoforo, Girolamo e Ludovico di Tolosa’ is known to locals as ‘the Burger King Bellini’, after the fast food outlet opposite the church door. In any other city, the picture’s exquisite handling of light and complex mingling of Christian piety with Renaissance Neo-platonism would grant it a museum of its own, but in Venice its principal spectators are weary tourists in line for a Whopper. Martin Gayford’s paean to Venice as ‘a huge, three-dimensional repository of memory’ is constantly alert to such anomalies.