Paintings for Black Walls (page 2)

Warm palettes

Golds, reds and browns. The ones that differ most from the wall in lightness come first, because they stand out best. Showing 49 to 96 of 1,211.

Two women and a man in front of a column and arch nearly fill this vertical, oval painting. The two women have pale skin with round faces, wide-set eyes, and full pink lips.

Giovanni Battista Tiepolo Scene from Ancient History, c. 1750 National Gallery of Art

Garden View, Brooklyn, Fidelia Bridges, ca. 1867, watercolor and gouache, with traces of graphite underdrawing, on tan hot-pressed wove paper

Fidelia Bridges Garden View, Brooklyn, ca. 1867 The Met

Camouflaged Field in France, John Singer Sargent, 1918, watercolor, gouache, graphite, and wax crayon on white wove paper

John Singer Sargent Camouflaged Field in France, 1918 The Met

This painting shows a person in an agricultural setting. The background is made of horizontal bands of browns and greens, painted in short, overlapping strokes.

Georges Seurat Peasant with a Hoe, c. 1882 National Gallery of Art

A Foggy Sky, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett A Foggy Sky, 1872 The Met

Pierre-Auguste Renoir Girl with a Basket of Fish, c. 1889 National Gallery of Art

Shown from the knees up, a young girl with pale skin, wearing a coral-peach dress, sits facing and looking at us in this loosely painted, vertical portrait. Her knees are angled slightly to our left, and her hands rest in her lap.

Berthe Morisot The Artist's Daughter with a Parakeet, 1890 National Gallery of Art

A Gorge in the Mountains (Kauterskill Clove), Sanford Robinson Gifford, 1862, oil on canvas

Sanford Robinson Gifford A Gorge in the Mountains (Kauterskill Clove), 1862 The Met

Autumn Landscape, Sugar Loaf Mountain, Orange County, New York, Jasper Francis Cropsey, ca. 1870–75, oil on canvas

Jasper Francis Cropsey Autumn Landscape, Sugar Loaf Mountain, Orange County, New York, ca. 1870–75 The Met

Wyoming Valley, Pennsylvania, Jasper Francis Cropsey, 1864, oil on canvas

Jasper Francis Cropsey Wyoming Valley, Pennsylvania, 1864 The Met

A view across a wide, brightly lit field scattered with broken pieces of stone is framed to the left and right by crumbling stone temples in this horizontal painting.

Sanford Robinson Gifford Ruins of the Parthenon, 1880 National Gallery of Art

Sketch for The Copley Family, John Singleton Copley, 1776, oil on canvas

John Singleton Copley Sketch for The Copley Family, 1776 National Gallery of Art

Green Door, Santa Maria della Salute, John Singer Sargent, ca. 1904, watercolor, graphite, gouache, and wax crayon on white wove paper

John Singer Sargent Green Door, Santa Maria della Salute, ca. 1904 The Met

View of Niagara Falls, John Frederick Kensett, c. 1851–52, oil on canvas

John Frederick Kensett View of Niagara Falls, c. 1851–52 Cleveland Museum of Art

Madame Roulin and Her Baby, Vincent van Gogh, 1888, oil on canvas

Vincent van Gogh Madame Roulin and Her Baby, 1888 The Met

The Valley of Wyoming, Jasper Francis Cropsey, 1865, oil on canvas

Jasper Francis Cropsey The Valley of Wyoming, 1865 The Met

This painting depicts a street scene from a slightly elevated perspective. A tan dirt road stretches into the distance, lined with white houses on the left side.

Alfred Sisley Marly-le-Roi, c. 1875 National Gallery of Art

We look slightly down onto a woman dressed in golden yellows, sitting in a pale green chair, with a nude child sitting in her lap as they both gaze into a mirror in this vertical portrait painting. Both the people have pale, peachy skin.

Mary Cassatt Woman with a Sunflower, c. 1905 National Gallery of Art

Across a short stretch of sand in front of us, waves of bottle-green water break over two boulders on the shoreline, with sailboats in the water beyond, in this wide, horizontal painting.

Martin Johnson Heade Rio de Janeiro Bay, 1864 National Gallery of Art

The image depicts a person standing beside a black horse. The person has long dark hair with feathers, wearing skin trousers, moccasins, a quiver, and a bow slung across their back.

George Catlin A Cheyenne Warrior Resting His Horse, 1861/1869 National Gallery of Art

Self-Portrait with a Straw Hat (obverse: The Potato Peeler), Vincent van Gogh, 1887, oil on canvas

Vincent van Gogh Self-Portrait with a Straw Hat (obverse: The Potato Peeler), 1887 The Met

Monk Selling Ceremonial Tea Whisks, Katsushika Hokusai, c. 1802, ink and light color on paper

Katsushika Hokusai Monk Selling Ceremonial Tea Whisks, c. 1802 Art Institute of Chicago

Packet Ship Passing Castle Williams, New York Harbor, Thomas Chambers, mid 19th century, oil on canvas

Thomas Chambers Packet Ship Passing Castle Williams, New York Harbor, mid 19th century National Gallery of Art

Large painting of young woman in white dress sitting next to crib.

Jacques-Louis David Madame de Pastoret and Her Son, 1791–92 Art Institute of Chicago

The image shows a large blue and grey bowl filled with various fruits, including grapes, peaches, and a pineapple. The color palette consists of blues, greens, yellows, oranges, and browns.

William Stearns Bowl of Fruit, c. 1830/1840 National Gallery of Art

The image depicts a group of individuals engaged in a dance. They are in a tightly-knit, curved line, with dynamic poses suggestive of movement and rhythm.

George Catlin Dog Dance - Sioux, 1861 National Gallery of Art

This painting shows a seaside view with a low horizon. A sandy beach is on the left, with ships and sailboats sailing on the water in the distance on the right.

John Constable Yarmouth Jetty, 1822 National Gallery of Art

A flatboat with eight light-skinned men floats toward us down a wide river in this horizontal painting. The boat nearly spans the width of the composition and has low sides and a shallowly arched, low cabin upon which the men gather.

George Caleb Bingham The Jolly Flatboatmen, 1846 National Gallery of Art

Green hills roll back to a turquoise-blue sea in this almost square painting. The scene is built with layers of small dots in lavender, lilac, cool blue, warm green, yellow, and peach.

Georges Seurat Seascape at Port-en-Bessin, Normandy, 1888 National Gallery of Art

This oval painting depicts a cherubic child in a garden setting. The child is standing with one foot in front of the other and has small wings on their back. The child has light skin, curly blond hair, rosy cheeks, and a playful expression.

Jean-Honoré Fragonard Love the Sentinel, c. 1773/1776 National Gallery of Art

The image shows three full-body figures standing together. On the left is a female figure holding a feather, in a decorated dress. In the center is a male figure with long, ornamented hair and a beaded robe, holding a fur piece and shield.

George Catlin Three Minatarree Indians, 1861 National Gallery of Art

This horizontal landscape is painted with dots and dashes in fresh green, shimmering blue, amethyst purple, shell pink, pale yellow, and cream white against the brown wood of the panel, which is visible throughout.

Georges Seurat Study for "La Grande Jatte", 1884/1885 National Gallery of Art

The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, Page from a Manuscript of the Akbarnama, Basawan, Mughal dynasty (1526-1857), c. 1590-1595, opaque watercolor and gold on paper

Basawan The Young Emperor Akbar Arrests the Insolent Shah Abu’l-Maali, Page from a Manuscript of the Akbarnama, Mughal dynasty (1526-1857), c. 1590-1595 Art Institute of Chicago

This painting shows a scene with several people spaced out across a grassy expanse. The horizon is high in the painting, lined with white structures with red roofs and green trees.

Georges Seurat Figures in a Landscape, c. 1883 National Gallery of Art

A woman wearing a white and pale pink robe and holding a sickle sits on billowing clouds flanked by a lion and two young people in this vertical, oval painting. All three people have pale skin with rosy cheeks and blond hair.

Antoine Watteau Ceres (Summer), c. 1717/1718 National Gallery of Art

We look sightly down and across a green meadow in front of us at a grove of tall trees to our left next to a shimmering body of water, before a deep view of distant mountains beneath an ice-blue sky in this horizontal landscape.

Asher Brown Durand Pastoral Landscape, 1861 National Gallery of Art

In this painting, short, angular brushstrokes suggest a person in motion. The person is bent over, facing the left, raising a large, thin object over one shoulder.

Georges Seurat The Stone Breaker, c. 1882 National Gallery of Art

Shown from about the waist up, a young woman wearing white sits in an armchair cuddling a brown and black striped cat in this vertical painting. The scene is painted with blended brushstrokes, giving it a soft look.

Pierre-Auguste Renoir Woman with a Cat, c. 1875 National Gallery of Art

Papers with Japanese text hang from a tree bearing red and gold leaves.

Tosa Mitsuoki Autumn Maples with Poem Slips, c. 1675 Art Institute of Chicago

This painting depicts a sunlit forest with densely packed trees. Sunlight filters through the leaves, casting a warm glow and illuminating shades of green with hints of yellow and gold.

Henry Ward Ranger Spring Woods, c. 1910 National Gallery of Art

The painting depicts a tranquil lake scene with a low horizon line showing a pale green hill in the background under a pale, cloudy sky. Closer to us, on the right, there is a large, textured rock surrounded by greenery and red flowers.

John Frederick Kensett Landing at Sabbath Day Point, c. 1853 National Gallery of Art

Portrait after a Costume Ball (Portrait of Madame Dietz-Monnin), Edgar Degas, 1879, distemper, metallic paint, and pastel, on canvas

Edgar Degas Portrait after a Costume Ball (Portrait of Madame Dietz-Monnin), 1879 Art Institute of Chicago

This painting shows two women seated on yellow-gold chairs in a room. The woman on the left appears young, with short brown hair and light skin.

Édouard Vuillard Women Sewing, c. 1912 National Gallery of Art

Two pale-skinned women sit facing each other on a long sofa centered on the wall across from us in a room warmly lit from the right in this horizontal painting. The scene is loosely painted so some details are indistinct.

William Merritt Chase A Friendly Call, 1895 National Gallery of Art

Shown from the knees up, a young woman with pale skin and flushed cheeks looks at us, wearing a long, shimmering white dress partially draped with powder-blue fabric in this vertical portrait painting.

John Singer Sargent Mary Crowninshield Endicott Chamberlain (Mrs. Joseph Chamberlain), 1902 National Gallery of Art

The painting depicts a stately building complex from an elevated point. The buildings are large, with white, ivy-covered walls and dark, peaked roofs.

Bernardo Bellotto The Fortress of Königstein: Courtyard with the Magdalenenburg, 1756-1758 National Gallery of Art

The Sofa, Henri de Toulouse-Lautrec, ca. 1894–96, oil on cardboard

Henri de Toulouse-Lautrec The Sofa, ca. 1894–96 The Met

The painting depicts a rocky coastline dotted with color. The horizon is high in the scene, and a strip of pale-yellow sky is visible at the very top of the painting.

Henry Golden Dearth Flecks of Foam, c. 1911/1912 National Gallery of Art

Back to every group for black walls

Other wall colors