Ochre Editions
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The 20th century

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

189 works · hang 3359 ·

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

Walk this roomRehang this room

Section 1, north wall

  1. Dutton Lumber Yard, by Thomas Weeks Barrett, 1942
    Dutton Lumber YardThomas Weeks Barrett, 1942Courtesy of the Smithsonian American Art Museum
  2. In the Desert, by H. Siddons Mowbray, 1915-1925
    In the DesertH. Siddons Mowbray, 1915-1925Courtesy of the Smithsonian American Art Museum
  3. This image shows an engraved design featuring a cannon with large wheels next to an eagle perched on top, situated on the left side of a rectangular stone slab. The color scheme is predominantly grayscale with subtle hints of blue and gray tones throughout the stone surface. The cannon is positioned slightly to the left in the composition, with its barrel pointing to the right, while the eagle is perched on the cannon barrel facing forward, wings tucked close to its body. To accompany the cannon, a stack of cannonballs is carved on the lower left, further anchoring the scene within the carved rectangle.
    Bas ReliefEdward L. Loper, c. 1938Courtesy National Gallery of Art, Washington

Section 1, south wall

  1. Fight Between a Tiger and a Buffalo, by Henri Rousseau, 1908
    Fight Between a Tiger and a BuffaloHenri Rousseau, 1908Courtesy of the Cleveland Museum of Art
  2. 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
  3. The image shows various shapes and lines within a square border. In the center, there is an abstract circular pattern resembling a stylized floral design. The inner circle contains leaf-like shapes in green, surrounded by a ring resembling petals or decorative motifs. The overall effect is similar to a decorative shield or medallion. The background texture adds depth to the composition.
    Quilt Block - "E. Cooper" DesignFlorence Truelson, 1935/1942Courtesy National Gallery of Art, Washington

Section 2, south wall

  1. 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
  2. The image shows a wooden duck decoy against a plain, light-colored background. The duck is crafted in various shades of brown, black, and green with subtle highlights in lighter tones. The duck is facing to the right side of the frame, with its head slightly tilted upward.
    DecoyMina Lowry, c. 1940Courtesy National Gallery of Art, Washington
  3. The Stranger, by Albert Sterner, 1916
    The StrangerAlbert Sterner, 1916Courtesy of the Smithsonian American Art Museum
  4. The image shows a lace-trimmed sleeve with a floral lace design in the center, primarily in shades of gray and off-white. The sleeve is positioned vertically in the center of the image, with the top slightly obscured by shadow and the ruffled lace edge at the bottom. The lace details are intricate and precise, enhancing the texture and complexity of the design.
    Cuff LaceErwin Schwabe, c. 1937Courtesy National Gallery of Art, Washington

Section 2, north wall

  1. The Hill Field, by Arthur Wesley Dow, 1908-1910
    The Hill FieldArthur Wesley Dow, 1908-1910Courtesy of the Smithsonian American Art Museum
  2. This painting shows a large jug filled with orange flowers on a woven brown surface, with three small oranges placed in front of it. The bottom half of the jug is a brownish-red color, while the top part and handles are a light tan. The jug is centered, with flowers extending slightly to the sides. The flowers in the vase are surrounded by dark green leaves and buds. The wall behind the vase is a light gray color, and the vase casts a light shadow on it.
    Marigolds and TangerinesFélix Vallotton, 1924Courtesy National Gallery of Art, Washington
  3. 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
  4. Hillside, by Edward Gay, 1908
    HillsideEdward Gay, 1908Courtesy of the Smithsonian American Art Museum

Section 3, north wall

  1. 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
  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