Paintings for Burgundy Walls

Library red: gilt frames and dark landscapes belong here.

Burgundy #6E2A35

Gold and cream contrast; deep greens sit as a classic pair.

Echoes your wall 76
Contrasts with your wall 230
Neutral with your wall 2,068

Study of Lilia, Carolus-Duran 16 × 20 in portrait print (41 × 51 cm), centered 53¼ in from the floor, 8 in above the sofa. Drawn to scale on a 12 × 8 ft wall.

Wall color

Default greige

Echoes your wall

Paintings that share this wall’s color, so wall and picture read as one. Closest in hue and largest in share come first. The strongest 24 of 76.

Facing away from us against a cherry-red background, the head and shoulders of a light-skinned woman wearing strawberry red, with her copper-brown hair piled atop her head, fills this vertical painting.

Carolus-Duran Study of Lilia, 1887 National Gallery of Art

Woman on Rose Divan, Henri Matisse, 1921, oil on canvas

Henri Matisse Woman on Rose Divan, 1921 Art Institute of Chicago

Shown from the knees up, a pale-skinned woman wearing an off-the-shoulder, black gown stands in front of a maroon-red wall in this vertical portrait painting. Her body is angled to our left, but she turns her round face to us.

Jean-Auguste-Dominique Ingres Madame Moitessier, 1851 National Gallery of Art

Great-Grand-Father's Tale of the Revolution—A Portrait of Reverend Zachariah Greene, William Sidney Mount, 1852, oil on canvas

William Sidney Mount Great-Grand-Father's Tale of the Revolution—A Portrait of Reverend Zachariah Greene, 1852 The Met

This painting shows a young person from the waist up, sitting with their hands folded on a brown surface. The person is angled slightly to the left, looking up into the distance.

Agnolo di Domenico del Mazziere Portrait of a Youth, c. 1495/1500 National Gallery of Art

A woman wearing a crimson-red brocade dress and gold jewelry fills most of this vertical portrait, but her right hand, on our left, rests on the shoulder of a young boy tucked into the lower left corner of the panel.

Agnolo Bronzino A Young Woman and Her Little Boy, c. 1540 National Gallery of Art

A young woman sitting with a nude infant lying in her lap is flanked on either side by an older woman to our left and an elderly man with a nude young boy to our right in this vertical painting. They all have pale skin tinged with blue.

El Greco The Holy Family with Saint Anne and the Infant John the Baptist, c. 1595/1600 National Gallery of Art

The Hatch Family, Eastman Johnson, 1870–71, oil on canvas

Eastman Johnson The Hatch Family, 1870–71 The Met

Shown from the hips up, a pale-skinned woman with a long, narrow face wears a richly decorated crimson-red dress in this vertical portrait painting. Her body angles to our left, and she looks in that direction with hooded brown eyes.

Agnolo Bronzino Eleonora di Toledo, c. 1560 National Gallery of Art

Saint Jerome as Scholar, El Greco, ca. 1610, oil on canvas

El Greco Saint Jerome as Scholar, ca. 1610 The Met

Mrs. Mayer and Daughter, Ammi Phillips, 1835–40, oil on canvas

Ammi Phillips Mrs. Mayer and Daughter, 1835–40 The Met

Harriet Hubbard Ayer, Eastman Johnson, 1881, oil on canvas

Eastman Johnson Harriet Hubbard Ayer, 1881 National Gallery of Art

Two pale-skinned women are shown from the waist up behind a counter in an interior space in this nearly square painting.

Édouard Vuillard Woman in a Striped Dress, 1895 National Gallery of Art

Salt Meadow in October, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Salt Meadow in October, 1872 The Met

Virgin and Child, Hans Memling, c. 1485, oil on panel

Hans Memling Virgin and Child, c. 1485 Art Institute of Chicago

This painting depicts three individuals in a room. An elderly man is seated on a wooden chair, reading a newspaper, with a child standing beside him. The man has balding gray hair, round spectacles, and is dressed in a black suit.

Eastman Johnson The Brown Family, 1869 National Gallery of Art

This painting depicts a large bull standing in a grassy plain. The bull is seen from the side, facing the right. Its head is a rich brown color, while its body and legs are swirled with patches of white and brown.

H. Call Prize Bull, 1876 National Gallery of Art

This painting shows a woman standing in front of a wooden dresser with a mirror, her back to us. We can see her face reflected in the mirror. She is gazing at her reflection with both of her hands lifted towards her slightly tilted face.

Eastman Johnson The Toilet, 1873 National Gallery of Art

A Genoese Lady with Her Child, Anthony van Dyck, c. 1623–25, oil on canvas

Anthony van Dyck A Genoese Lady with Her Child, c. 1623–25 Cleveland Museum of Art

Asters and Fruit on a Table, Henri Fantin-Latour, 1868, oil on canvas

Henri Fantin-Latour Asters and Fruit on a Table, 1868 The Met

Margaret of Austria, Jean Hey,, ca. 1490, oil on oak panel

Jean Hey, Margaret of Austria, ca. 1490 The Met

Albert Gallatin, Gilbert Stuart, ca. 1803, oil on canvas

Gilbert Stuart Albert Gallatin, ca. 1803 The Met

The Pink Cloud, Henri-Edmond Cross, c. 1896, oil on canvas

Henri-Edmond Cross The Pink Cloud, c. 1896 Cleveland Museum of Art

Portrait of a Carthusian, Petrus Christus, 1446, oil on oak

Petrus Christus Portrait of a Carthusian, 1446 The Met

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. Showing 1 to 48 of 230.

An arched bridge faintly materializes in a haze of soft turquoise blue and mint green in this horizontal landscape painting. The bridge has four arches under a flat deck, and it extends off each side of the canvas.

Claude Monet Waterloo Bridge, London, at Dusk, 1904 National Gallery of Art

We look slightly down onto the surface of a river in which three narrow canoes, each paddled by a single person, are being rowed toward us in this horizontal landscape painting.

Gustave Caillebotte Skiffs, 1877 National Gallery of Art

Painted almost entirely in tones of topaz, lapis, and sky blue, the façade of a building abutting a waterway fills this horizontal painting. Brushstrokes are visible throughout and they blend to make the scene appear hazy.

Claude Monet Palazzo da Mula, Venice, 1908 National Gallery of Art

Still Life with Apples and a Pot of Primroses, Paul Cézanne, ca. 1890, oil on canvas

Paul Cézanne Still Life with Apples and a Pot of Primroses, ca. 1890 The Met

Still Life with a Ginger Jar and Eggplants, Paul Cézanne, 1893–94, oil on canvas

Paul Cézanne Still Life with a Ginger Jar and Eggplants, 1893–94 The Met

Shown from the lap up a pale-skinned young girl sits in a grassy landscape in this vertical painting. The girl and surroundings are painted with visible strokes and dashes of mostly vivid greens and blues, which give the scene a soft look.

Camille Pissarro Peasant Girl with a Straw Hat, 1881 National Gallery of Art

The "Kearsarge" at Boulogne, Édouard Manet, 1864, oil on canvas

Édouard Manet The "Kearsarge" at Boulogne, 1864 The Met

This painting shows a riverside with a cream-colored bridge cutting horizontally across the scene in front of a bustling city. The bridge is decorated with flags that have stripes of red, white, and blue.

Armand Guillaumin The Bridge of Louis Philippe, 1875 National Gallery of Art

This painting shows a maritime scene from the water, with a coastline in the distance marked by small, colorful buildings and distant green hills.

A. Hashagen Ship "Arkansas" Leaving Havana, 1847 National Gallery of Art

Beaulieu: The Bay of Fourmis, Eugène Boudin, 1892, oil on canvas

Eugène Boudin Beaulieu: The Bay of Fourmis, 1892 The Met

A small brown dog and a pale-skinned little girl wearing a white dress sit in matching celestial-blue armchairs in this horizontal painting. To our right, the girl sits with her legs angled to our left.

Mary Cassatt Little Girl in a Blue Armchair, 1878 National Gallery of Art

A woman stands on a sun-dappled path, which runs past a bank of blooming flowers and back to a cottage in this vertical painting.

Gustave Caillebotte Dahlias, Garden at Petit Gennevilliers, 1893 National Gallery of Art

The Vase of Tulips, Paul Cézanne, c. 1890, oil on canvas

Paul Cézanne The Vase of Tulips, c. 1890 Art Institute of Chicago

Painting of a crowd of well-dressed light-skinned people in an open, snowy field surrounded by large rolling hills.

George Bellows Love of Winter, 1914 Art Institute of Chicago

By the Seashore, Pierre-Auguste Renoir, 1883, oil on canvas

Pierre-Auguste Renoir By the Seashore, 1883 The Met

The Island of San Michele, Venice, Francesco Guardi, 1770s, oil on canvas

Francesco Guardi The Island of San Michele, Venice, 1770s The Met

Ship in Full Sail, T. Davies, 1827, oil on canvas

T. Davies Ship in Full Sail, 1827 National Gallery of Art

Sea View, Calm Weather (Vue de mer, temps calme), Édouard Manet, 1864, oil on canvas

Édouard Manet Sea View, Calm Weather (Vue de mer, temps calme), 1864 Art Institute of Chicago

We look out across a band of broad, craggy boulders at an ocean bay dotted with boats in this horizontal landscape painting. The tops of the flat boulders are caramel brown in the sunlight and darker, rust-brown shadows down the sides.

William Stanley Haseltine Narragansett Bay, 1864 National Gallery of Art

A glass bottle, a glass carafe, a stemmed glass, several pieces of fruit, and white and blue cloths are arranged on a wooden table in this horizontal still life. The bottle and carafe are at the center of this composition.

Paul Cézanne The Peppermint Bottle, 1893/1895 National Gallery of Art

This painting depicts a sandy beach under a vast, light blue sky. The horizon is in the center of the painting where the blue sky blends into the blue water.

Eugène Boudin Women on the Beach at Berck, 1881 National Gallery of Art

Jewel-toned blue, red, yellow, green, and pearl white brushstrokes swirl and stretch in this loosely painted horizontal landscape painting.

Pierre-Auguste Renoir The Blue River, c. 1890/1900 National Gallery of Art

Washerwoman, Study, Camille Pissarro, 1880, oil on canvas

Camille Pissarro Washerwoman, Study, 1880 The Met

A Lock, a Column, and a Church beside a Lagoon, Canaletto, 1743, oil on canvas

Canaletto A Lock, a Column, and a Church beside a Lagoon, 1743 The Met

Warwick Castle, Canaletto, 1748, oil on canvas

Canaletto Warwick Castle, 1748 The Met

From a point of view over the water, we look across a bustling canal at a bridge, which is flanked by rows of buildings to each side in this horizontal painting.

Francesco Guardi View on the Cannaregio Canal, Venice, c. 1775-1780 National Gallery of Art

No te aha oe riri (Why Are You Angry?), Paul Gauguin, 1896, oil on jute canvas

Paul Gauguin No te aha oe riri (Why Are You Angry?), 1896 Art Institute of Chicago

David Anderson, Henry Raeburn, 1790, oil on canvas

Henry Raeburn David Anderson, 1790 National Gallery of Art

The Pool at Jas de Bouffan, Paul Cézanne, ca. 1885–86, oil on canvas

Paul Cézanne The Pool at Jas de Bouffan, ca. 1885–86 The Met

The painting features a large slice of yellow cake, a halved lemon, a glass of pale-yellow liquid with a slice of lemon and a straw in it, and a white plate filled with red raspberries.

John Frederick Peto Still Life with Cake, Lemon, Strawberries, and Glass, 1890 National Gallery of Art

Painting of a light-skinned woman dressed in a gauzy white gown with black trim playing an upright paino.

Pierre-Auguste Renoir Woman at the Piano, 1875–76 Art Institute of Chicago

The Pigeon Tower at Bellevue, Paul Cézanne, 1890, oil on fabric

Paul Cézanne The Pigeon Tower at Bellevue, 1890 Cleveland Museum of Art

Painting of three male figures, two older men in top hats and a younger man with red hair, standing outdoors around a wooden table with a pitcher on it, drinking from glasses.

Vincent van Gogh The Drinkers, 1890 Art Institute of Chicago

An ice- and powder-blue sky swirled with faint peach takes up the top two-thirds of this landscape painting.

Alfred Sisley First Snow at Veneux-Nadon, 1878 National Gallery of Art

Boating, Édouard Manet, 1874, oil on canvas

Édouard Manet Boating, 1874 The Met

Irises, Claude Monet, 1914–17, oil on canvas

Claude Monet Irises, 1914–17 Art Institute of Chicago

In the Waves (Dans les Vagues), Paul Gauguin, 1889, oil on canvas

Paul Gauguin In the Waves (Dans les Vagues), 1889 Cleveland Museum of Art

Still Life with Peaches and Grapes, Pierre-Auguste Renoir, 1881, oil on canvas

Pierre-Auguste Renoir Still Life with Peaches and Grapes, 1881 The Met

The Gardener, Georges Seurat, 1882–83, oil on wood

Georges Seurat The Gardener, 1882–83 The Met

We look across a shaded field of snow, through a screen of loosely spaced trees at a cobalt-blue mountain that dominates this square landscape painting. The scene is painted with visible brushstrokes throughout.

Abbott Handerson Thayer Mount Monadnock, probably 1911/1914 National Gallery of Art

Lunch at the Restaurant Fournaise (The Rowers' Lunch), Pierre-Auguste Renoir, 1875, oil on canvas

Pierre-Auguste Renoir Lunch at the Restaurant Fournaise (The Rowers' Lunch), 1875 Art Institute of Chicago

A pale-skinned boy with round, almost doll-like proportions sits on pointed rocks in front of a pale blue sky in this slightly stylized, vertical painting. The boy’s body and face are square to us.

Henri Rousseau Boy on the Rocks, 1895/1897 National Gallery of Art

Hills around the Bay of Moulin Huet, Guernsey, Pierre-Auguste Renoir, 1883, oil on canvas

Pierre-Auguste Renoir Hills around the Bay of Moulin Huet, Guernsey, 1883 The Met

Lake George, Free Study, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Lake George, Free Study, 1872 The Met

Berthe Morisot Young Woman with a Straw Hat, 1884 National Gallery of Art

Woman in a Garden, Berthe Morisot, 1882–83, oil on canvas

Berthe Morisot Woman in a Garden, 1882–83 Art Institute of Chicago

The Laundress, Pierre-Auguste Renoir, 1877–79, oil on canvas

Pierre-Auguste Renoir The Laundress, 1877–79 Art Institute of Chicago

A road or path curves away from us, past a tall formation, perhaps rocks, to our left, and into a valley filled with trees and a low hill beyond in this stylized, vertical landscape.

Paul Cézanne The Bend in the Road, 1900/1906 National Gallery of Art

Neutral with your wall

Quiet palettes that neither match nor fight this color, the softest first. The strongest 24 of 2,068.

Saddle Horse in Farm Yard, Winslow Homer, ca. 1870–75, oil on wood

Winslow Homer Saddle Horse in Farm Yard, ca. 1870–75 The Met

Study of a Tree, Albert Bierstadt, ca. 1864, oil on paper mounted on board

Albert Bierstadt Study of a Tree, ca. 1864 The Met

Portrait of a Man with Gray Hair, Henry Raeburn, 1810–20, oil on canvas

Henry Raeburn Portrait of a Man with Gray Hair, 1810–20 Art Institute of Chicago

Fish, William Merritt Chase, by 1910, oil on canvas

William Merritt Chase Fish, by 1910 The Met

View near Sherburne, Chenango County, New York, Jasper Francis Cropsey, 1853, oil on canvas

Jasper Francis Cropsey View near Sherburne, Chenango County, New York, 1853 The Met

Jonathan Sturges, Asher Brown Durand, ca. 1840, oil on canvas

Asher Brown Durand Jonathan Sturges, ca. 1840 The Met

A Fisherman, Eastman Johnson, 1865, brown inks on tan-color sized canvas

Eastman Johnson A Fisherman, 1865 The Met

Sanford Robinson Gifford, Eastman Johnson, 1880, oil on academy board

Eastman Johnson Sanford Robinson Gifford, 1880 The Met

Lake George, A Reminiscence, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Lake George, A Reminiscence, 1872 The Met

Lake George, New York, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Lake George, New York, 1872 The Met

Evening, New Bedford Harbor, Dwight William Tryon, 1890, oil on wood

Dwight William Tryon Evening, New Bedford Harbor, 1890 The Met

Moonlight, Dwight William Tryon, 1887, oil on wood

Dwight William Tryon Moonlight, 1887 The Met

Moonrise at Sunset, Dwight William Tryon, 1890, oil on wood

Dwight William Tryon Moonrise at Sunset, 1890 The Met

Village in Brittany, Charles-François Daubigny, 1844, oil on paper, mounted on canvas

Charles-François Daubigny Village in Brittany, 1844 Art Institute of Chicago

Nocturnal landscape painting with lush trees and a large patch of sky with visible brushstrokes. Multiple small, seated figures line the foreground.

Narcisse Virgilio Díaz de la Peña Landscape with Figures, c. 1870 Art Institute of Chicago

Castel San Elmo (from Cropsey Album), Jasper Francis Cropsey, 1848, graphite, white gouache, and watercolor on dark buff-colored wove paper

Jasper Francis Cropsey Castel San Elmo (from Cropsey Album), 1848 The Met

Environs of Fontainebleau: Woodland and Cattle, Rosa Bonheur, 1864, oil on canvas

Rosa Bonheur Environs of Fontainebleau: Woodland and Cattle, 1864 The Met

Capriccio: The Lagoon, Francesco Guardi, After 1770, oil on canvas

Francesco Guardi Capriccio: The Lagoon, After 1770 Art Institute of Chicago

The Circumcision, Giovanni Bellini, 1511, oil on wood

Giovanni Bellini The Circumcision, 1511 The Met

Virgin and Child, Peter Paul Rubens, 1619, oil on wood

Peter Paul Rubens Virgin and Child, 1619 The Met

Allegorical Figure Representing Temperance, Giovanni Battista Tiepolo, 1760, fresco, transferred to canvas

Giovanni Battista Tiepolo Allegorical Figure Representing Temperance, 1760 The Met

Portrait of a Gentleman, Charles Willson Peale, ca. 1775, oil on canvas

Charles Willson Peale Portrait of a Gentleman, ca. 1775 The Met

Portrait of a Woman, Charles Willson Peale, ca. 1775, oil on canvas

Charles Willson Peale Portrait of a Woman, ca. 1775 The Met

Martin Euclid Thompson, William Sidney Mount, 1830, oil on canvas

William Sidney Mount Martin Euclid Thompson, 1830 The Met

Other wall colors