Ochre Editions
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20th-century United States

Works made in the United States in the 20th century.

124 works · hang 9523 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. Stag at Sharkey's, by George Bellows, 1909
    Stag at Sharkey'sGeorge Bellows, 1909Courtesy of the Cleveland Museum of Art
  2. The image shows a painted artwork within an ornate frame. The artwork features a figure standing with one hand raised. The figure has long hair and a beard, and wears flowing blue and white garments. The background shows an earthy surface and a sky. The frame is gold and elaborately designed. The scene is set against a blank, light-colored background.
    Original Tabernacle, for Communion VesselsDayton Brown, 1936Courtesy National Gallery of Art, Washington

Section 1, south wall

  1. The image shows an ornate metalwork design with a winged creature. The design features intricate wrought iron decoration with a mythical figure, resembling a Pegasus, enclosed within a circular frame. The central circle is surrounded by symmetrical, stylized scrollwork motifs and horizontal bars, suggesting an architectural or ornamental fixture intended for use in structures like gates or window grills. The detailed craftsmanship and balanced design highlight the creature's form and the harmonious symmetry of the patterns.
    Fence - Sea Horse DesignPearl Torell, c. 1939Courtesy National Gallery of Art, Washington
  2. This painting shows a person seated on a stool or chair, wearing a long, dark-blue robe or gown. They are slightly turned toward the right, looking downward at something they hold in their hands, and their head is covered with a cloth or cap. The background is textured with earthy tones, mostly tan with some patches of yellow ochre and gray.
    The ChaperoneThomas Eakins, c. 1908Courtesy National Gallery of Art, Washington
  3. The image shows a wooden stool with a semi-circular seat on a light beige background. The stool has four slim legs and a primarily brown color.
    Shaker Music RackAlfred H. Smith, c. 1936Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. This is a drawing of a furniture design with detailed measurements and decorative elements. The drawing depicts a piece of furniture with a combination of drawers and a cabinet, shown from the front and the side. Specific measurements are provided for various parts of the furniture, such as the width, height, and depth. The design features include a decorative carving in relief on the front panel, a detailed cross-section of the knob, and ornamental patterns on the side. The drawing is technical in nature, likely intended for crafting or woodworking purposes, emphasizing the detailed aspects needed for construction.
    Chest of DrawersFlorence Neal, 1935/1942Courtesy National Gallery of Art, Washington
  2. This is a drawing of three decorative bonnets. The drawing features three different hat designs, each embellished with lace, ribbon, and bow details. The upper left bonnet is adorned with pink hues and intricate lace, displaying a floral-like bow. The top right bonnet showcases a turquoise ribbon and bow, surrounded by soft lace. The lower bonnet is in grayscale, with shadowing for dimension, featuring a checkered ribbon. Each hat is detailed with line work and shading, conveying elegance.
    CapsUnrecorded American maker, 1935/1942Courtesy National Gallery of Art, Washington
  3. The image shows a tall, narrow wooden table with a square top and four long, slender legs. The color palette is warm with shades of light brown and reddish-brown on the table. Positioned centrally, the table stands against a plain, light-colored background.
    Shaker StandRay Holden, c. 1936Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. This print displays a landscape with a wide view of flat land stretching towards the horizon. The ground is covered in small black dots, with some bare patches in the bottom center. A few silhouetted trees and a hint of smoke coming up from behind some rocks are visible in the distance. The gray sky dominates the scene with soft, swirling clouds.
    LowlandsTimothy Cole, 1918Courtesy National Gallery of Art, Washington
  2. 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

Section 3, north wall

  1. The image shows an antique double kerosene lamp with ornate glass chimneys set atop a horizontal cylindrical base with a central vertical support ending in a circular handle. The base and lamp parts have a bronze-like color with a textured appearance, and the glass chimneys are primarily clear but show hints of colorful reflections. Positioned centrally in the image, the lamp stands upright with the two chimneys equally spaced on either side of the vertical support, which is topped by a circular loop handle, while the signature "J. Cannella" is visible towards the lower right side of the image.
    Reading LampJoseph Cannella, 1941Courtesy National Gallery of Art, Washington
  2. The image shows a green glass goblet with a textured, bubble-like pattern on the cup and a smooth stem. The color palette consists of shades of green with varying tones, depending on the glass's thickness and pattern. The goblet is positioned centrally, seen straight-on with the cup's pattern visible across its surface. It rests on a flat surface, slightly above the center of the image.
    GobletRonau William Woiceske, 1935/1942Courtesy National Gallery of Art, Washington
  3. This is a painting of a vintage fire hose cart. It is intricately designed, featuring a four-wheeled cart meant to hold a coiled fire hose. The painting showcases the cart's wooden spoked wheels and hose mechanism, as well as ornate wrought iron designs and a brass figure. A bell is depicted above one wheel. The painting captures the craftsmanship of the era and is reminiscent of the style of Charles Demuth, known for his attention to detail and focus on industrial and architectural elements.
    Fire Hose ReelHans Mangelsdorf, c. 1938Courtesy National Gallery of Art, Washington

Section 3, south wall

  1. After the Bath, by Mary Cassatt, 1901
    After the BathMary Cassatt, 1901Courtesy of the Cleveland Museum of Art
  2. Dancing Sailors, by Charles Demuth, 1917
    Dancing SailorsCharles Demuth, 1917Courtesy of the Cleveland Museum of Art
  3. 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