Floor plan

Artist galleriesAlf Bruseth's contemporaries

Alf Bruseth's contemporaries

The sculpture depicts a mythical creature resembling a dragon. It has a long spiraled body and an intricate head with spiky protrusions. The sculpture is a warm brown color. The dragon has bat-like wings, an open mouth, detailed texture with scales, and is standing on a small base.
The image displays a vintage mechanical bank with a brick-patterned tower on the left and a soldier figure on the right, prepared to operate a cannon. The color scheme is mainly earthy tones including brown, bronze, and hints of gold, creating a retro metallic appearance. The label "ARTILLERY BANK" is engraved on the base in front of the cannon.
The image depicts a landscape with towering rock formations dominating the scene. The ground is rugged and textured, leading the eye towards the rock pillars in the center. A structure or building is perched atop one of these rocks. The background shows the horizon above the structure, with clouds and sky stretching out beyond. The artwork features detailed brushstrokes adding texture to the rocks. The color palette is monochromatic with varying shades of charcoal or ink, emphasizing the contrast between the rocks and the sky.
Self-Portrait, by Abbott Handerson Thayer, 1920
Cartoon for mural of Minnesota State Capital, "Institute of Justice", by Kenyon Cox, ca. 1904
Stag at Sharkey's, by George Bellows, 1909

The works in this room are listed below.

Works in this room

A few works by Alf Bruseth, then their contemporaries: makers of the same nationality born within 25 years of them, then works from the same century and place.

Section 1, north wall

  1. The sculpture depicts a mythical creature resembling a dragon. It has a long spiraled body and an intricate head with spiky protrusions. The sculpture is a warm brown color. The dragon has bat-like wings, an open mouth, detailed texture with scales, and is standing on a small base.
    FenceRose Campbell-Gerke, c. 1941Courtesy National Gallery of Art, Washington
  2. The image displays a vintage mechanical bank with a brick-patterned tower on the left and a soldier figure on the right, prepared to operate a cannon. The color scheme is mainly earthy tones including brown, bronze, and hints of gold, creating a retro metallic appearance. The label "ARTILLERY BANK" is engraved on the base in front of the cannon.
    Mechanical Artillery BankAlf Bruseth, c. 1940Courtesy National Gallery of Art, Washington
  3. The image depicts a landscape with towering rock formations dominating the scene. The ground is rugged and textured, leading the eye towards the rock pillars in the center. A structure or building is perched atop one of these rocks. The background shows the horizon above the structure, with clouds and sky stretching out beyond. The artwork features detailed brushstrokes adding texture to the rocks. The color palette is monochromatic with varying shades of charcoal or ink, emphasizing the contrast between the rocks and the sky.
    The Cliffs of the TrinityJoseph Pennell, 1913Courtesy National Gallery of Art, Washington
  4. Self-Portrait, by Abbott Handerson Thayer, 1920
    Self-PortraitAbbott Handerson Thayer, 1920Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. 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
  2. Stag at Sharkey's, by George Bellows, 1909
    Stag at Sharkey'sGeorge Bellows, 1909Courtesy of the Cleveland Museum of Art

Section 2, south wall

  1. A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting. Dozens of people, small in scale, are each painted with a few swipes of black and some with peach-colored faces. They gather at the foot of the building and around a fire to our left, near the lower left corner of the composition. The fire is painted with a dash of orange, a few touches of canary yellow, and a smudge of gray smoke. Several more people stand and sit against the building, which has a streetlamp near its entrance. The back end of the building angles away from us to our right, so we see the narrow, front entrance side to our left. Each of the six floors of the building has two windows with fire escape ladders on the narrow side we can see. Some strokes in red and white on the lower levels of the long, flat side of the building suggest signs or posters. The top story glows a warm sienna brown in sunlight, while the rest of the building and the scene below are in shadow. More people walk along a grayish-violet fence that encloses the lot beyond the building. The ground is painted thickly with slate gray, pale, sage green, and one smear of white to suggest snow. To our right and a short distance from us, a white horse pulls a carriage near the foot of the bridge. The ivory-white, concrete piling rises up and off the right edge of the canvas and supports the deck of the bridge above. Only a sliver of the brick-red underside of the bridge is visible, skimming the top edge of the painting in the upper right corner. Two twiggy, barren trees grow up beyond the muted purple fence, and the landscape beyond is bright in the sunlight. A terracotta-orange building rises along the left edge of the painting, with the area between it and the lot under the bridge filled with thickly painted patches of butter yellow, amethyst purple, and sage green. Beyond that, an ice-blue river flows across the composition. The shore beyond is lined with patches of beige and tan paint that could be buildings. A black tugboat puffs bright white smoke in the river. The sky above is frosty white. The artist signed the work with dark blue in the lower left corner of the painting, “Geo Bellows.”
    The Lone TenementGeorge Bellows, 1909Courtesy National Gallery of Art, Washington
  2. The image displays wavy lines and shapes with a mix of colors, creating an abstract composition. Curved lines are intertwined, resembling braided patterns or woven fabric textures. On the left, there is a large, organic shape bordered by red, green, and beige. The right side showcases a rhythmic pattern resembling a braided rug, with strands of red, blue, and brown. The overall composition resembles a textured textile piece.
    Shaker Woolen RugGeorge V. Vezolles, 1935/1942Courtesy National Gallery of Art, Washington