Ochre Editions
SearchSign inCart (0)

The 20th century

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

189 works · hang 7153 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. The image shows a small intricately decorated wooden structure with an arched top and a central door flanked by two metal hinges. The structure is painted with a floral and vine motif in colors such as red, green, and yellow on a light background. The wooden door has a textured appearance. The object is positioned centrally with the door facing forward, placed on a slightly elevated base with two footings extending forward. The overall look is ornate and symmetrical, showcasing detailed design work.
    Tabernacle (Ecclesiastical Furniture)Cornelius Christoffels, c. 1938Courtesy National Gallery of Art, Washington
  2. This is a painting of a carousel horse. The image shows a gray carousel horse with glossy highlights and shading. The horse has a blue and red saddle with gold bands, and a blue harness with red accents. The horse is mid-gallop, with animated legs. The background is plain to focus on the horse's design. The style is detailed and realistic, reminiscent of carousel art from the late 19th to early 20th century.
    Carousel HorseDorothy Handy, c. 1939Courtesy National Gallery of Art, Washington
  3. This is a drawing of a wooden door panel. It features a detailed rendering of a rectangular wooden door panel with vertical lines. Below the door panel, there is an elevation view showing the construction detail of the door in cross-section, with measurements indicating dimensions and proportions. The color palette is in shades of brown and beige. A signature in the lower right corner attributes the drawing to an artist named Geoffrey Holt.
    One of Original Inside Doors to SacristyGeoffrey Holt, c. 1936Courtesy National Gallery of Art, Washington
  4. 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

Section 1, south wall

  1. After the Bath, by Mary Cassatt, 1901
    After the BathMary Cassatt, 1901Courtesy of the Cleveland Museum of Art
  2. Wrestlers in a Circus, by Ernst Ludwig Kirchner, 1909
    Wrestlers in a CircusErnst Ludwig Kirchner, 1909Courtesy of the Cleveland Museum of Art
  3. The River, by Maxime Maufra, 1902
    The RiverMaxime Maufra, 1902Courtesy of the Cleveland Museum of Art

Section 2, 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 displays a detailed drawing of a vintage wall-mounted lamp. The color palette consists of primarily browns and earthy tones, with hints of a metallic sheen. The lamp is centered in the image, with its base attached to the right side and extending to the left. A subtle shadow and highlights give the lamp a three-dimensional appearance against a plain, light beige background.
    Binnacle LampHerman O. Stroh, 1938Courtesy National Gallery of Art, Washington
  3. Church, Rancho de Taos, by Selden Connor Gile, 1931
    Church, Rancho de TaosSelden Connor Gile, 1931Courtesy of the Smithsonian American Art Museum
  4. The image shows a large wooden chest with a rectangular design and a keyhole on its front panel. The chest has a weathered look in muted browns and grays. It is positioned in the center with its top, front, and side panels visible. The background is plain and light in color.
    Utility ChestHenry Tomaszewski, 1937Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. This is a painting of an intricate and colorful illuminated manuscript page. The full-description includes a richly decorated page featuring elaborate calligraphy and floral motifs. The left side showcases swirling ornamental patterns with vibrant colors - blues, reds, and golds - interwoven with blooming flowers and a small figure with wings. In the lower portion, there is a depiction of small buildings. The right side contains text in different styles, with the top section written in large decorative letters and the lower section in a more detailed script. The overall design is bordered with floral elements and intertwining vines. This is in the style of illuminated manuscripts found in historical European documents and books.
    FrakturAlbert Levone, 1935/1942Courtesy National Gallery of Art, Washington
  2. Water Lilies (Agapanthus), by Claude Monet, c. 1915–26
    Water Lilies (Agapanthus)Claude Monet, c. 1915–26Courtesy of the Cleveland Museum of Art
  3. The image depicts a person standing upright. They are wearing a dark green dress with long sleeves and a floor-length skirt. Over the dress, there is a white fabric wrapped around their shoulders. The person is holding a closed umbrella in their right hand. Their face is dark with distinguishable eyes and a nose, but specific facial features are not detailed. The person's hair is covered by a colorful headscarf with shades of blue, pink, and yellow. They are wearing large earrings, possibly pink or red. The background is plain and light with no additional objects present.
    Doll--"Hannah Hitch"Edith Towner, c. 1940Courtesy National Gallery of Art, Washington

Section 3, north wall

  1. A work made of oil on canvas.
    VétheuilClaude Monet, 1901Courtesy of the Art Institute of Chicago
  2. The image shows a dark metal object with two parts: a handle and a blade. The color palette consists of shades of dark brown on a light beige background. The handle is located at the top center, and the blade portion is positioned below it, both aligned vertically in the center of the frame.
    SpitEmile Cero, c. 1938Courtesy National Gallery of Art, Washington