The Massachusetts Institute of Technology's Dean's Gallery through Jan. 7 is featuring artwork loaned by the Weisfield family. The collection of 14 pieces created between the 1840s and 1990s is eclectic in subject matter due to its artists' varying nationalities.
The majority of works are of the lithograph medium, but there are also several etchings and newspaper prints.
American artist Richard Florsheim has an untitled lithograph exhibited that was created between 1968 and 1970. The piece is entirely in gray and black tones, demonstrating excellent use of value. It shows a solemn, lonely industrial cityscape; the sun peeks out from behind the buildings to provide a sense of hope for the depressed city.
Florsheim has another untitled piece depicting a similar mood and subject displayed at the gallery.
Marc Chagall, a well-renowned Belarusian figurative artist of the 20th century, has the most eye-catching piece in the collection. His lithograph, titled "Woman Juggler" (1961-1964), is highly reminiscent of a Matisse cutout. He uses a vibrant mix of reds, greens, purples and blues, which provide high contrast with the white background. The woman is depicted abstractly with disproportionate features. The objects she juggles are colorful faces, leaves and flowers.
"Leonardo da Vinci" (1969), by American artist Thomas Cornell, is the most intricate and realistic of the lithographs in the Weisfield Collection. Da Vinci's eyes, as well as his nose and mouth, iare extremely detailed; his other features melt into the background, creating the impression that the work is still in progress. Cornell uses unblended sketching, adding to the beautiful, unfinished quality of the lithograph.
The Weisfields collected Asian art in addition to pieces from Europe and the United States, and Chinese artist Jem Hom has an untitled, esoteric ink drawing on paper featured in the gallery.
The drawing is colorless and depicts a crowd of ghost-like people huddled together, watching a man ride on horseback. The figures are very nondescript, including the horseman, who is only emphasized due to his separation from the crowd. The drawing is eerie, but undeniably intriguing.
A second Asian artist whose work is included is Vietnamese Lebadang. His piece is also an untitled lithograph — an evident trend — made in 1970.
The lithograph is easily the most erotic of the artworks, with a subtle etching of two mating horses on a background of visible sea green brushstrokes. The horses' faces — jaws dropped in pleasure — are most emphasized, while their bodies are drowned in the background.
"Rape of the Sabine Women" (ca. 1966-1968), an etching created by Jack Levine, is the most provocative and violent of the collection.
Upon first glance, its figures are difficult to decipher: All are the same golden-brown color, and none are clearly defined. Greater concentration, however, reveals what is going on: Two uniformed men with towering horses are violently grabbing two women by their hair. The only developed facial expression is that of one of the victims, whose mouth forms a desperate cry for help.
The atmosphere of the Dean's Gallery is initially intimidating. It shares space with administrative offices, so MIT administrators work diligently at their computers as you wander observing the art on display.
The workers are friendly and don't seem bothered by ones presence, and festive fall decor adds hominess to the office setting. As one studies the different pieces, the hum of keyboard typing and the seductive aroma of coffee become more therapeutic than off-putting.
The Weisfield Collection is well worth a visit. In just four stops on the T, art of an international scope and varied media is available for observation in a comfortable environment.
