In the current art scene, where two of the world's most prestigious museums recently jockeyed for a 13-foot, formaldehyde-encased shark carcass, the "aristocratic decorative arts" might not sound particularly exciting or relevant. But the detail and balance of the Museum of Fine Arts, Boston's (MFA) surprisingly refreshing new exhibit "Splendor and Elegance: European Decorative Arts and Drawings from the Horace Wood Brock Collection" make it far from stuffy or stale. From finely painted, delicate porcelain figures to a towering, oversized gilt clock, the exhibit nearly overwhelms visitors with visual interest.
In "Splendor and Elegance," exquisite decorative objects such as desks, vases, clocks and chairs mingle with lively drawings and paintings from the 16th through the 19th centuries. The enchanting collection of drawings, paintings and decorative arts spans both time and space, including objects from Britain, Germany, Italy and France. The drawings and paintings that are sprinkled throughout the exhibit provide a broader context for the decorative arts.
Organized somewhat chronologically, the exhibit has a very intimate feel. It's as though one is wandering through the rooms of a house, each one reflecting a different time period or culture. The sparse, anatomical sketches of Italian artists Monti and Boscoli serve as a strikingly intimate view into the artists' processes, while the decorative furniture of the French "Rococo" style, with its rich wood and intricate gilt surfaces, reads more like an 18th-century rendition of "MTV Cribs."
With a few exceptions, most of the drawings and paintings are either monochromatic or employ only very subtle gradations in color. In the case of the Flemish artist Peter Paul Rubens, this sparseness of color showcases the artist's skilled use of lines as a means of creating a vibrant image. In "A Sheet of Anatomical Studies," Rubens renders the gripping, twisted musculature of two male arms with such tension and dynamism that the work's title hardly does it justice. The energy and drama that Rubens creates infuses the decorative pieces with such a lifelike vibrancy that the curves and contours of the furniture and vases almost begin to resemble human gestures. Other standouts include Godfried Maes' "Head of Medusa" (1680), and Charles de Wailly's "Interior of a Celestial Palace" (circa 1771).
Illusionist drawings that depict decorative objects — like "Design for an Urn with the Triumph of Bacchus" — toy with the viewer's sense of what is real. The decorative mirrors in the collection, like those of the English Regency period, further contribute to the play between reality and illusion. They also add to the intimacy of the exhibit by effectively integrating the viewer into the collection. While engaging with the various works, the viewer may inadvertently catch his or her own reflection in one of the mirrors, thereby unintentionally participating in the collection.
This enchanting collection belongs to Horace W. Brock, a Harvard- and Princeton-educated mathematician and economist who amassed the artwork and furniture over a mere 30 years. What makes "Splendor and Elegance" so engaging is that it reflects one man's notion of what is beautiful and visually appealing.
So what exactly does an economist know about art? The symmetry and grace of the works displayed in "Splendor and Elegance" are a result of the collector's keen eye for beauty, which he has masterfully employed in choosing which objects to purchase. In fact, Brock's conception of what makes something beautiful is outlined with near-mathematical accuracy in his essay entitled "The Truth about Beauty," included in the 160-page catalog that is available to read at the exhibit. His theory is based on seeking just the right balance of complexity, which is made up of a combination of "themes and transformations." His essay is complete with a mathematical appendix and a model of "maximal beauty" that would be at home in a microeconomics textbook.
Brock identifies his motivations for collecting these works as purely aesthetic: "My quest has been to enjoy beauty in the refuge of my own home and I have acquired objects solely because I find their harmonious design life-enhancing," he said.
The result is a collection of stunning pieces that anyone can appreciate and enjoy. During a time when most are living a little more modestly, Brock's rich and expansive collection feels like an extravagant visual feast. And when admission is free with a Tufts ID, there is no excuse not to indulge.
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At the Torf Gallery, through May 17
Museum of Fine Arts, Boston
465 Huntington Avenue
617-267-9300
