Boston is a city of numerous cultural institutions—one can easily attend school here for four years without exploring all the opportunities available. One such often-missed opportunity is the Boston Athenæum, set back from sidewalk at its 10 ½ Beacon Street location. In a city with one of the most reputable public libraries in the country, it is understandable why many Bostonians are only vaguely aware of this 206-year-old private library. David B. Dearinger, Susan Morse Hilles curator of paintings and sculpture and director of exhibitions at the Athenæum, is trying to change this state of affairs with the exhibition “Collecting for the Boston Athenæum in the 21st Century: Paintings and Sculpture.”

Dearinger, who has been at the Athenæum for nearly 10 years, has slowly been building the library’s collection of fine art. The fruits of that effort are now on display at the new exhibition, which runs through February 15. This exhibition, which features works created from 1820 to the current day, showcases the acquisitions made in the past 10 years and illustrates the vibrancy of the institution, Dearinger feels. “Many people are not aware that the Athenæum still collects anything,” he says. “I have people asking all the time, ‘Do you still collect?’... And that’s one reason I really put this together. Yes, we collect.”

The exhibition is a powerful testament to that fact. Over 50 pieces, grouped by type of subject, are on display. Upon entering the exhibition, viewers will naturally gravitate toward the portraiture section, which comprises 15 exemplary pieces from various points in the span of the 19th century. While some stand out largely for their historical value—a Thomas Ball bust of Daniel Webster, an anonymous plaster relief of John Quincy Adams—others captivate by merit of their execution. Outstanding in this category is William McGregor Paxton’s “Elizabeth Vaughan Okie,” painted around 1895. The subject, Paxton’s future wife, is bathed in a soft radiance in which viewers will instantly recognize the influence of the Impressionists. The delicacy of execution is especially notable in the treatment of the subject’s luminous pink dress and dark hair; more subtly engaging is the deeply thoughtful expression on her face. It is little wonder that this painting is the image used by the Athenæum to advertise the exhibition.

Although “Elizabeth” is the most memorable piece on display, Dearinger has a particular affection for a more recent piece in the genre painting section: “Shopping for Furs (Trying on Furs),” painted by Polly Thayer around 1943. “[It is] of a woman who has been shopping for too long,” Dearinger says. “She has become a study of, ‘I’ve had it, that’s it, I can’t go on.’ She’s very popular. People love her, as I knew they would.” The subject exudes exhaustion, collapsed into a heap on a sagging chair next to the titular furs, a grimly sympathetic character in the face of the looming holiday season.

In addition to seeing the Athenæum’s art collection, visitors can also learn about the extensive book collection and research services offered by the Athenæum to its members. Besides these concrete resources, however, Dearinger feels there is an indefinable air of hominess to the library. “It’s also the atmosphere of the place, and the intimacy of it,” Dearinger says. “[It is] Intimate without being stodgy, I think, or claustrophobic.” Looking forward to the future of the Athenæum, Dearinger hopes that this exhibition will draw a new generation into that atmosphere and intimacy at the Boston institution.