Paintings for Chocolate Walls

Deep brown warmth; traditional and cozy.

Chocolate #4B3426

Cream, sky blue and gold contrast; earth palettes echo.

Echoes your wall 1,861
Contrasts with your wall 112
Neutral with your wall 401

Sketch for Ohio State Capitol Design, Thomas Cole 20 × 60 in panoramic print (51 × 152 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. Showing 1 to 48 of 1,861.

This drawing shows the faint outline of a domed building. The representation is minimalistic, with few details of the building shown besides the dome and vertical lines that might suggest columns.

Thomas Cole Sketch for Ohio State Capitol Design, c. 1838 National Gallery of Art

Ruin by the Sea, Arnold Böcklin, 1881, oil on fabric

Arnold Böcklin Ruin by the Sea, 1881 Cleveland Museum of Art

Kitchen Utensils with Leeks, Fish, and Eggs, Jean-Baptiste-Siméon Chardin, c. 1734, oil on canvas

Jean-Baptiste-Siméon Chardin Kitchen Utensils with Leeks, Fish, and Eggs, c. 1734 Cleveland Museum of Art

The Return of Persephone, Frederic Leighton, ca. 1890–91, oil on canvas

Frederic Leighton The Return of Persephone, ca. 1890–91 The Met

Three light-skinned men, one with his head and knee bandaged, sit and stand around a rusty, free-standing stove in a room with wide plank floors in this horizontal painting.

William Sidney Mount The Tough Story - Scene in a Country Tavern, 1837 National Gallery of Art

Shown from the knees up, a pale-skinned woman in a voluminous rust-orange dress stands facing us in this vertical portrait painting. She looks toward us but slightly down with dark brown eyes under curved brows.

Edgar Degas Girl in Red, c. 1866 National Gallery of Art

The Return of the Holy Family to Nazareth, Nicolas Poussin, c. 1627, oil on canvas

Nicolas Poussin The Return of the Holy Family to Nazareth, c. 1627 Cleveland Museum of Art

Portrait of a Woman, Joseph Wright of Derby, ca. 1770, oil on canvas

Joseph Wright of Derby Portrait of a Woman, ca. 1770 The Met

The painting shows a woman's figure from the waist up, seated, and her body is turned slightly to our left. Her head is turned to face the viewer.

Charles Willson Peale Rebecca Bryan White (Mrs. John White), 1788 National Gallery of Art

This painting shows a serene forest setting with a wide, shallow stream flowing gently towards us. The scene is enclosed by tall trees on either side.

Worthington Whittredge Trout Brook in the Catskills, 1875 National Gallery of Art

Arched Doorway, John Singer Sargent, 1895–1908 (?), watercolor and gouache on white wove paper

John Singer Sargent Arched Doorway, 1895–1908 (?) The Met

An older man with a tanned skin and a white beard is shown from the waist up against a dark brown background in this vertical portrait painting. His body is angled to our right but he turns his head to look to our left.

Titian Doge Andrea Gritti, c. 1546/1550 National Gallery of Art

Two Men Contemplating the Moon, Caspar David Friedrich, ca. 1825–30, oil on canvas

Caspar David Friedrich Two Men Contemplating the Moon, ca. 1825–30 The Met

Sunset near Arbonne, Théodore Rousseau, ca. 1860–65, oil on wood

Théodore Rousseau Sunset near Arbonne, ca. 1860–65 The Met

A woman playing a lute sits next to a table, on which a man perches and leans toward her in this vertical painting. Two people look on from the background. All the people have pale skin.

Jan Steen Ascagnes and Lucelle (The Music Lesson), 1667 National Gallery of Art

A balding, older man sits in a golden boat guided by a winged angel away from craggy rocks to calm waters, toward a shaft of light piercing a billowing bank of clouds in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Old Age, 1842 National Gallery of Art

Study of a Girl's Head and Shoulders, James McNeill Whistler, 1896–97, oil on panel

James McNeill Whistler Study of a Girl's Head and Shoulders, 1896–97 Art Institute of Chicago

Boy Drinking, Annibale Carracci, 1582–83, oil on canvas

Annibale Carracci Boy Drinking, 1582–83 Cleveland Museum of Art

Edgar Degas Woman Ironing, begun c. 1876, completed c. 1887 National Gallery of Art

Study for the Ceiling of the Marquand Music Room, Frederic Leighton, ca. 1886, oil and gold on canvas

Frederic Leighton Study for the Ceiling of the Marquand Music Room, ca. 1886 The Met

Storm in the Mountains, Frederic Edwin Church, 1847, oil on canvas

Frederic Edwin Church Storm in the Mountains, 1847 Cleveland Museum of Art

Omnia Vincit Amor, or The Power of Love in the Three Elements, Benjamin West, 1809, oil on canvas

Benjamin West Omnia Vincit Amor, or The Power of Love in the Three Elements, 1809 The Met

Two thick, twisting, splintered tree trunks with broken branches stripped of leaves are set against a dark, wooded landscape beneath a nearly black sky in this horizontal landscape painting.

Thomas Cole Tornado in an American Forest, 1831 National Gallery of Art

Autumn, a Wood Path, Sanford Robinson Gifford, 1876, oil on canvas

Sanford Robinson Gifford Autumn, a Wood Path, 1876 Cleveland Museum of Art

We stand on a beach lined with black rocks and boulders looking out onto the water below a brick-red sky that dominates this nearly square landscape painting.

Gustave Courbet The Black Rocks at Trouville, 1865/1866 National Gallery of Art

Dominated by tones of red and fire orange, this nearly square painting shows a seated woman leaning forward in a high-backed chair, holding a round, flat, leaf-shaped fan.

Edgar Degas Madame Camus, 1869/1870 National Gallery of Art

Light from the upper left falls across a glass, a pitcher, peaches in a basket, and other fruit arranged along a brown tabletop or ledge in this horizontal still life painting.

Jean-Baptiste-Siméon Chardin Fruit, Jug, and a Glass, c. 1726/1728 National Gallery of Art

This painting shows a young boy sitting on a wooden rocking chair next to a dark metal stove. He is leaning forward with one arm extended towards the stove door, which is partially open, revealing bright orange light.

Eastman Johnson The Early Scholar, c. 1865 National Gallery of Art

A nearly nude, muscular man with pale, peachy skin sits in an underground cave among seven male and two female lions in this horizontal painting.

Peter Paul Rubens Daniel in the Lions' Den, c. 1614/1616 National Gallery of Art

Tilla Durieux (Ottilie Godeffroy, 1880–1971), Pierre-Auguste Renoir, 1914, oil on canvas

Pierre-Auguste Renoir Tilla Durieux (Ottilie Godeffroy, 1880–1971), 1914 The Met

A woman and child stand in an enclosed courtyard in this vertical painting.

Pieter de Hooch Woman and Child in a Courtyard, 1658/1660 National Gallery of Art

A large, dark sailing ship to our left is stranded near the shore, angled dramatically away from us, in choppy waves under a periwinkle-blue sky streaked with gray and copper-colored clouds in this horizontal painting.

Asher Brown Durand The Stranded Ship, 1844 National Gallery of Art

Painting of several light-skinned people gathered around a table in front of a gilded mirror, playing instruments. At left, seated next to a woman in an off-the-shoulder gown, a man in a plumed hat plays a lute.

Jan Steen The Family Concert, 1666 Art Institute of Chicago

A man and woman greet each other at the center of a group of about a dozen people set within a landscape in this horizontal painting. All the people have pale, peachy skin.

Peter Paul Rubens The Meeting of David and Abigail, c. 1630 National Gallery of Art

Still Life with Flowers and Prickly Pears, Pierre-Auguste Renoir, ca. 1885, oil on canvas

Pierre-Auguste Renoir Still Life with Flowers and Prickly Pears, ca. 1885 The Met

Peasants Bringing Home a Calf Born in the Fields, Jean-François Millet, 1864, oil on canvas

Jean-François Millet Peasants Bringing Home a Calf Born in the Fields, 1864 Art Institute of Chicago

Landscape (The Lock), John Constable, c. 1820–25, oil on canvas

John Constable Landscape (The Lock), c. 1820–25 Art Institute of Chicago

The painting shows an enormous tree with a hollowed base where two people, potentially young boys, are taking shelter. The boys sit together in the hollow base of the tree, one appearing to read a piece of paper.

Eastman Johnson The Truants, c. 1870 National Gallery of Art

Young Girl Meditating, Thomas Eakins, 1877, watercolor and gouache on off-white wove paper

Thomas Eakins Young Girl Meditating, 1877 The Met

The image shows a still life of round fruits, such as grapes and peaches, placed on a white plate. The color scheme consists of warm browns, muted greens, and deep reds. The fruits have a natural sheen.

Henri Fantin-Latour Still Life with Peaches and Grapes, 1896 National Gallery of Art

A band of several galloping horses and riders move across the center of this vertical painting. The color palette is dominated by blended earthy brown, green, and pale pink.

Edgar Degas Scene from the Steeplechase: The Fallen Jockey, 1866, reworked 1880-1881 and c. 1897 National Gallery of Art

Pierre-Auguste Renoir Head of a Young Girl, c. 1890 National Gallery of Art

Portrait of My Daughter Alice, William Merritt Chase, c. 1895, oil on canvas

William Merritt Chase Portrait of My Daughter Alice, c. 1895 Cleveland Museum of Art

Shown from the shins up, a woman with medium-toned skin plays a mandolin in this loosely painted vertical composition. The woman’s body faces us but her head tips to our left and she looks down in that direction with dark eyes.

Camille Corot Gypsy Woman with Mandolin, c. 1870 National Gallery of Art

Near a verdant riverbank against soaring, hazy cliffs, a nude, chubby baby sits in a golden boat on a bed of pink and white flowers in this horizontal painting.

Thomas Cole The Voyage of Life: Childhood, 1842 National Gallery of Art

The Fortune-Teller, Georges de La Tour, probably 1630s, oil on canvas

Georges de La Tour The Fortune-Teller, probably 1630s The Met

A pale-skinned woman stands holding a spoon and egg, and bracing a long-handled pan in one elbow, in front of a wooden table near a fireplace mantle in this vertical painting.

Jean-Baptiste-Siméon Chardin The Attentive Nurse, 1747 National Gallery of Art

A man looks up as he kneels with his hands clasped in prayer in a small golden boat on a river that rushes toward craggy rocks in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Manhood, 1842 National Gallery of Art

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. The strongest 24 of 112.

Houses of Parliament, London, Claude Monet, 1900–1, oil on canvas

Claude Monet Houses of Parliament, London, 1900–1 Art Institute of Chicago

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

Painting of a pond seen up close spotted with thickly painted pink and white water lilies and a shadow across the top third of the picture.

Claude Monet Water Lilies, 1906 Art Institute of Chicago

Low Tide at Pourville, near Dieppe, 1882, Claude Monet, 1882, oil on fabric

Claude Monet Low Tide at Pourville, near Dieppe, 1882, 1882 Cleveland Museum of Art

Vivid, lush view of rolling waves in purple, white, blue, and green against a bright blue sky with a watercolor-like blending of blues and purples. Sea and sky nearly become one.

Pierre-Auguste Renoir Seascape, 1879 Art Institute of Chicago

Shown from the chest up, a man with short, orange hair and green-tinted, pale skin looks at us, wearing a vivid blue painter's smock in this vertical portrait painting.

Vincent van Gogh Self-Portrait, 1889 National Gallery of Art

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

We look down on a few dozen people walking along the sidewalks of a wide, sunlit bridge in this almost square painting. The scene is loosely painted, which gives it a hazy, sun-dappled look and makes some details indistinct.

Pierre-Auguste Renoir Pont Neuf, Paris, 1872 National Gallery of Art

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

We look slightly down into a lime-green and white rowboat carrying a woman holding a baby and a man in this nearly square painting. The man wears midnight-blue shoes, pants, jacket, and soft, floppy cap.

Mary Cassatt The Boating Party, 1893/1894 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

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

Figures on the Beach, Pierre-Auguste Renoir, 1890, oil on canvas

Pierre-Auguste Renoir Figures on the Beach, 1890 The Met

Piazza San Marco, Francesco Guardi, late 1760s, oil on canvas

Francesco Guardi Piazza San Marco, late 1760s The Met

Violet and Silver—The Deep Sea, James McNeill Whistler, 1893, oil on canvas

James McNeill Whistler Violet and Silver—The Deep Sea, 1893 Art Institute of Chicago

We look across the water at two sailing ships with cream-white sails and dark rigging floating in a shimmering, ice-blue river against a distant shore lined with trees, hills, and buildings in this nearly square landscape painting.

Claude Monet Ships Riding on the Seine at Rouen, 1872/1873 National Gallery of Art

Still Life with Teapot and Fruit, Paul Gauguin, 1896, oil on canvas

Paul Gauguin Still Life with Teapot and Fruit, 1896 The Met

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

Painting of a cliff overlooking the sea. Two figures in long dresses, one with a parasol, stand on the cliff beneath blue sky.

Claude Monet Cliff Walk at Pourville, 1882 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

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

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

Lucie Berard (Child in White), Pierre-Auguste Renoir, 1883, oil on canvas

Pierre-Auguste Renoir Lucie Berard (Child in White), 1883 Art Institute of Chicago

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

A tree with emerald-green leaves and laden with white blossoms grows in a dirt field, and is silhouetted against a vibrant blue sky in this horizontal landscape painting. The scene is loosely painted with visible dabs and strokes.

Camille Pissarro Orchard in Bloom, Louveciennes, 1872 National Gallery of Art

Neutral with your wall

Quiet palettes that neither match nor fight this color, the softest first. The strongest 24 of 401.

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

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