Floor plan

Time and placeThe 20th century

The 20th century

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 image shows a landscape drawing with buildings, trees, and a winding path or water feature. The drawing is done in black charcoal on brownish background paper, creating a monochromatic color palette.
Study for mosaic in the Wisconsin State Capital "Government and Liberty", by Kenyon Cox, ca. 1912
Dancing Sailors, by Charles Demuth, 1917
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.”
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.
After the Bath, by Mary Cassatt, 1901
The image shows a tall, intricately designed purple candlestick against a light beige background. The overall color palette is dominated by shades of purple. The candlestick is centrally positioned and stands upright with detailed patterns visible.

The works in this room are listed below.

Works in this room

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

Section 1, north wall

  1. 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
  2. The image shows a landscape drawing with buildings, trees, and a winding path or water feature. The drawing is done in black charcoal on brownish background paper, creating a monochromatic color palette.
    Footpaths and Pavilion in the Dresden Grosser GartenErnst Ludwig Kirchner, c. 1909Courtesy National Gallery of Art, Washington
  3. Study for mosaic in the Wisconsin State Capital "Government and Liberty", by Kenyon Cox, ca. 1912
    Study for mosaic in the Wisconsin State Capital "Government and Liberty"Kenyon Cox, ca. 1912Courtesy of the Smithsonian American Art Museum
  4. Dancing Sailors, by Charles Demuth, 1917
    Dancing SailorsCharles Demuth, 1917Courtesy of the Cleveland Museum of Art

Section 1, south wall

  1. 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
  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. After the Bath, by Mary Cassatt, 1901
    After the BathMary Cassatt, 1901Courtesy of the Cleveland Museum of Art
  4. The image shows a tall, intricately designed purple candlestick against a light beige background. The overall color palette is dominated by shades of purple. The candlestick is centrally positioned and stands upright with detailed patterns visible.
    VaseJanet Riza, c. 1937Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. In the Cascade Mountains, by Edward Bruce, 1931
    In the Cascade MountainsEdward Bruce, 1931Courtesy of the Smithsonian American Art Museum
  2. Louis Eilshemius
    Samoan SceneLouis M. Eilshemius, 1908Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
  3. Hillside, by Edward Gay, 1908
    HillsideEdward Gay, 1908Courtesy of the Smithsonian American Art Museum

Section 2, north wall

  1. The Hills, by Preston Dickinson, ca. 1919
    The HillsPreston Dickinson, ca. 1919Courtesy of the Smithsonian American Art Museum
  2. 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
  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

Section 3, north wall

  1. A Florida Park, by Joseph C. Claghorn, before 1935
    A Florida ParkJoseph C. Claghorn, before 1935Courtesy of the Smithsonian American Art Museum
  2. William Merritt Chase
    Good FriendsWilliam Merritt Chase, (c. 1909)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution