Floor plan

Time and placeThe 20th century

The 20th century

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.
Dark twilight scene of a a brightly illuminated white cottage along the shore of an expansive body of water, seen through a thick of silhouetted trees.
Thomas Eakins
William Merritt Chase
Pont des Arts, by H. Lyman Saÿen, 1908-1911
The image is a painting of a woman's nude upper body extending from her head down to her hips, depicted in a standing position with her head slightly tilted to one side. Her facial features are distinct with a strong brow, prominent nose, and full lips, and her long dark hair cascades down to her shoulders. The background features abstract brushstrokes in dark blues and browns, blending into the lighter brown tone of the canvas, enhancing the figure's prominence in the composition. The woman appears naturalistic, with no jewelry or other objects visible in the painting.
Large painting, standing man blue turtleneck, sitting woman with white collar.
Calligraphic Interior, by H. Lyman Saÿen, ca. 1915

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. 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
  2. Dark twilight scene of a a brightly illuminated white cottage along the shore of an expansive body of water, seen through a thick of silhouetted trees.
    Fisherman's CottageHarald Oscar Sohlberg, 1906Courtesy of the Art Institute of Chicago
  3. Thomas Eakins
    Portrait of Mrs. Helen Mac Knight (Portrait of a Mother)Thomas Eakins, (c. 1903)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution
  4. William Merritt Chase
    Good FriendsWilliam Merritt Chase, (c. 1909)Courtesy of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution

Section 1, south wall

  1. Pont des Arts, by H. Lyman Saÿen, 1908-1911
    Pont des ArtsH. Lyman Saÿen, 1908-1911Courtesy of the Smithsonian American Art Museum
  2. The image is a painting of a woman's nude upper body extending from her head down to her hips, depicted in a standing position with her head slightly tilted to one side. Her facial features are distinct with a strong brow, prominent nose, and full lips, and her long dark hair cascades down to her shoulders. The background features abstract brushstrokes in dark blues and browns, blending into the lighter brown tone of the canvas, enhancing the figure's prominence in the composition. The woman appears naturalistic, with no jewelry or other objects visible in the painting.
    NudeRoger de La Fresnaye, 1910Courtesy National Gallery of Art, Washington
  3. Large painting, standing man blue turtleneck, sitting woman with white collar.
    Jacques and Berthe LipchitzAmedeo Modigliani, 1916Courtesy of the Art Institute of Chicago
  4. Calligraphic Interior, by H. Lyman Saÿen, ca. 1915
    Calligraphic InteriorH. Lyman Saÿen, ca. 1915Courtesy of the Smithsonian American Art Museum

Section 2, south 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. Dutton Lumber Yard, by Thomas Weeks Barrett, 1942
    Dutton Lumber YardThomas Weeks Barrett, 1942Courtesy of the Smithsonian American Art Museum
  3. The sculpture depicts a young boy dressed in a bright red coat, blue shirt, and blue pants, with black shoes. He is wearing a black hat with a red rim and has curly hair. The boy is balanced on one foot atop a red ball, with one leg lifted behind him and one hand held high above his head. The sculpture is made of painted, cast metal with intricate designs and textures. The boy stands on an ornately decorated dark pedestal.
    Toy BankPearl Torell, c. 1939Courtesy National Gallery of Art, Washington
  4. This is a drawing of an abstract shape or artifact. The image features a central black object positioned against a plain, light-colored background. The object has a slightly irregular, elongated triangular form with rounded edges and contours. It includes a series of geometric holes and protrusions. The subtle shadowing suggests a three-dimensional form, yet the drawing maintains a simplicity that emphasizes the object's unique contours and cutouts.
    BootjackClaude Marshall, c. 1940Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. The River, by Maxime Maufra, 1902
    The RiverMaxime Maufra, 1902Courtesy of the Cleveland Museum of Art
  2. Vibrant yellow, red, blue, and green painting of landscape with trees and mountains.
    Landscape with Two PoplarsVasily Kandinsky, 1912Courtesy of the Art Institute of Chicago
  3. The image shows a wooden chair with a rush seat. It features ornate details on the backrest. The color palette includes dark wood tones, pale greenish detailing, and a warm yellowish hue for the seat. The chair is centrally positioned in the image, viewed from the front, with no other objects around it.
    Ladderback ChairGerald Bernhardt, c. 1936Courtesy National Gallery of Art, Washington
  4. The image shows a large, rusted ax with a curved brown handle placed diagonally across the canvas. The color palette consists of muted browns and beiges, highlighting the aged appearance of the ax. Beneath the ax, there is a faint outline sketch of a similar object, and the artist's signature is located to the right of the sketch. The ax is in the upper half of the image, while the sketch and signature are in the center-bottom section.
    Dumb IronAlfonso Moreno, c. 1938Courtesy National Gallery of Art, Washington