The Peggy Guggenheim museum is a regular stomping ground for art fanatics doing the rounds of Venice. Forget the bustling St Mark’s Square or the touristy Accademia galleries, the Guggenheim holds an extensive collection of Picassos, Ernsts, and Man Rays, with an enviable view of the Grand Canal, straight off a marble balcony, which not even the relatively new Tadao Ando-designed Punta della Dogana (The Francois Pinault Fondation) can boast. When I visited, the museum was showcasing a Giuseppe Capogrossi (1900-1972) exhibition, who until that point I had never heard of. The show dedicated a retrospective to the key Italian postwar artist, starting with his early figurative works, which I markedly preferred to his later, more abstract work, that centred on a repetitive, almost primitive symbol.
