Ochre Editions
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The 20th century

Works made in the 20th century, anywhere in the world.

189 works · hang 3236 ·

The rooms are imagined; every work on their walls is real.

Walk this roomRehang this room

Section 1, north wall

  1. From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting. The scene is loosely painted mostly in tones of hazy and saturated blues, so many of the details are indistinct. About a quarter of the way in from the right edge of the composition, a thin iron column holds up the train platform. The column nearly spans the height of the painting, and the track it supports runs across the top edge of the canvas. At the foot of the column, along the bottom edge, are two parallel tracks embedded in an area otherwise painted with short, diagonal strokes in topaz blue, olive green, and straw yellow. Just beyond the tracks, the split-rail wooden fence runs across most of the painting, though there is an opening at the left edge of the canvas. A man sits with his back to us on the railing to our right of center. He wears a dark cap, a lapis-blue shirt, and navy-blue pants. Several men work on or near a mound-shaped form, perhaps a piece of machinery, just beyond the fence, near the center of the painting. One man holds a hammer high overhead while another reaches down or strikes the mound with his feet planted wide. More people work together to our left, and a man to our right stands near a crane. The people and these areas are painted with broad strokes and touches of cobalt blue, charcoal gray, khaki brown, and a few swipes of shell pink and bright white. A puff of white smoke billows up behind the central group, before the land drops precipitously away. The chasm is painted with shimmering tones of aquamarine and cerulean blue. A sky-blue, rectangular building perches at the far edge. A few windows are outlined in royal blue to our left but the rest of the building is loosely painted with long, vertical strokes so no architectural details can be made out. Behind this structure are more city buildings, suggested with strokes of muted rust red, parchment and bright white, and cobalt blue. The ice-blue sky fills the band between the top of the buildings and the train track running overhead. The artist signed his name near the lower left corner, “BELLOWS.”
    Blue MorningGeorge Bellows, 1909Courtesy National Gallery of Art, Washington
  2. Cartoon for mural of Minnesota State Capital, "Institute of Justice", by Kenyon Cox, ca. 1904
    Cartoon for mural of Minnesota State Capital, "Institute of Justice"Kenyon Cox, ca. 1904Courtesy of the Smithsonian American Art Museum
  3. Mountain Landscape with Fir Trees, by Ernst Ludwig Kirchner, 1918/19
    Mountain Landscape with Fir TreesErnst Ludwig Kirchner, 1918/19Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. Study in Rhythm: Red and Gold, by Joseph Schillinger, ca. 1934
    Study in Rhythm: Red and GoldJoseph Schillinger, ca. 1934Courtesy of the Smithsonian American Art Museum
  2. The image depicts a detailed drawing of a wall-mounted vessel. It consists of a large, spherical body attached to a flat disc, with two smaller protrusions resembling handles or clips. The color palette is monochromatic with shades of gray, giving it a metallic or ceramic appearance. The objects are centrally positioned, with a small inset illustration in the bottom left corner showing annotations. The artist's signature, "A. Marshall," is located near the lower right corner of the image.
    LampArsen Maralian, c. 1936Courtesy National Gallery of Art, Washington
  3. The image depicts two individuals from the waist up. The person on the left has a round face and is slightly behind the person on the right who has a slightly elongated face. Both individuals appear to be seated and have short, neatly combed hair. They have neutral facial expressions and their features are indistinct. The person on the left wears a suit with a bow tie, while the person on the right is dressed in clothing with detailed patterns and holds a flower-like object in their left hand. The background shows simple line sketches that suggest an interior setting.
    Ostpreussisches Ehepaar (Couple from East Prussia)Lovis Corinth, 1916Courtesy National Gallery of Art, Washington
  4. The image shows a large, intricately designed vase with a bulbous base and flared top at the center. The vase is decorated with painted scenes of a town or village. The color scheme includes shades of blue, green, brown, and touches of yellow and red. Surrounding the vase are two smaller detailed sections showing close-ups of the painted scenes on it. The main vase image is enclosed within a boxed outline on the page.
    Fire Lighter VaseFrancis Law Durand, 1935/1942Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. Mr. and Mrs. Phillip Wase, by George Bellows, 1924
    Mr. and Mrs. Phillip WaseGeorge Bellows, 1924Courtesy of the Smithsonian American Art Museum
  2. This is a drawing of decorative motifs. The image shows three distinct designs with ornate, swirling patterns. The uppermost design is in gold color. Two additional designs are sketched below in a lighter tone, likely pencil. The use of line and form emphasizes intricate looping patterns that suggest inspiration from natural forms such as vines or waves. The composition is against a plain background, drawing attention to the details and shapes of the motifs, presenting a sense of simplicity and artistry.
    Gold BroochIsidore Steinberg, c. 1940Courtesy National Gallery of Art, Washington
  3. The Stranger, by Albert Sterner, 1916
    The StrangerAlbert Sterner, 1916Courtesy of the Smithsonian American Art Museum
  4. My Day at Home, by William H. Howe, 1906
    My Day at HomeWilliam H. Howe, 1906Courtesy of the Smithsonian American Art Museum

Section 2, north wall

  1. The image shows a large ceramic vase with two curved handles positioned near the top on either side. The vase has an earthy color palette with shades of brown, beige, and a subtle hint of reddish-brown forming a band around its middle. The vase is centrally placed on a flat surface, and both handles extend outward at the top.
    VaseIsadore Goldberg, c. 1939Courtesy National Gallery of Art, Washington
  2. The image shows a wooden chair with a tall back featuring three wide horizontal slats. The chair has an upholstered seat, likely grey or muted in color. The color palette consists of natural wood tones and a neutral seat color. The chair is facing slightly to the left with the seat slightly tilted.
    Shaker Side ChairRay Holden, c. 1937Courtesy National Gallery of Art, Washington
  3. Stag at Sharkey's, by George Bellows, 1909
    Stag at Sharkey'sGeorge Bellows, 1909Courtesy of the Cleveland Museum of Art

Section 3, north wall

  1. October Morning, by Frank A. Bicknell, ca. 1910
    October MorningFrank A. Bicknell, ca. 1910Courtesy of the Smithsonian American Art Museum
  2. Shown from the lap up, a pale-skinned woman with an oval face and long neck sits facing us in this vertical painting. The portrait is created with areas of mottled colors outlined with black lines. Her body faces us, and she looks out with pale blue eyes, the irises almost white. Her thin eyebrows slope down the sides and her small, dark peach lips are closed. Golden-orange hair is piled atop her head and a few bangs fall onto her high forehead. Black oval earrings hang from her lobes. Her shoulders also slope unnaturally down. Her mint-green shirt has a scooped neckline and elbow-length sleeves, and it appears to be tucked into a brown skirt or pants. The background is honey orange in the top left quadrant, amber brown in the lower left, and a russet brown door with windows across the top fills the right half. The artist signed the top right corner, “modigliani.”
    Girl in a Green BlouseAmedeo Modigliani, 1917Courtesy National Gallery of Art, Washington