Paintings for Cream Walls (page 16)

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 721 to 768 of 1,235.

Shown from about the knees up, a man with peachy skin, wearing a voluminous black cloak and a tall, brimmed hat, looks directly at us in this vertical portrait painting.

Rembrandt van Rijn Portrait of a Man in a Tall Hat, c. 1663 National Gallery of Art

The Wheat Field, George Inness, c. 1875–77, oil on canvas

George Inness The Wheat Field, c. 1875–77 Cleveland Museum of Art

Both dressed in white, a little boy leans onto the lap of a woman sitting in front of a smooth, sunlit boulder with a landscape to the right in this vertical portrait painting. Both people have pale skin with rosy cheeks.

Thomas Lawrence Lady Mary Templetown and Her Eldest Son, 1802 National Gallery of Art

A pale-skinned woman with honey-blond hair reclines among wheat stalks and grape vines in this horizontal painting. She lies on her side with her head to our right and her body facing us. Her upper body is propped on her left elbow.

Jacopo Tintoretto Summer, c. 1546/1548 National Gallery of Art

Virgin and Child with Saints Dominic and Hyacinth, Giovanni Battista Tiepolo, 1730–35, oil on canvas

Giovanni Battista Tiepolo Virgin and Child with Saints Dominic and Hyacinth, 1730–35 Art Institute of Chicago

Passing off of the Storm, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Passing off of the Storm, 1872 The Met

A Shaded Avenue, Jean-Honoré Fragonard, ca. 1775, oil on wood

Jean-Honoré Fragonard A Shaded Avenue, ca. 1775 The Met

View of Genoa, Camille Corot, 1834, oil on paper, mounted on canvas

Camille Corot View of Genoa, 1834 Art Institute of Chicago

A river winds through forest-green trees and vegetation between rolling hills and mountains extending into the deep distance under a pale, orchid-purple sky in this nearly square landscape painting.

Thomas Gainsborough Mountain Landscape with Bridge, c. 1783/1784 National Gallery of Art

Painted in muted lime green, plum purple, buttercup yellow, slate and royal blue, the head and shoulders of a man with peach-colored skin sitting in front of a window looks at us in this stylized, vertical portrait.

Paul Gauguin Self-Portrait Dedicated to Carrière, 1888 or 1889 National Gallery 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

Evening in the Woods, Worthington Whittredge, 1876, oil on canvas

Worthington Whittredge Evening in the Woods, 1876 The Met

Allegory of Autumn, François Boucher, 1753, oil on canvas

François Boucher Allegory of Autumn, 1753 The Met

Lieutenant Colonel Paul Pechell (1724–1800), Thomas Gainsborough, 1768, oil on canvas

Thomas Gainsborough Lieutenant Colonel Paul Pechell (1724–1800), 1768 The Met

The painting depicts a man shown from the knees up, standing with his arms crossed over his chest and his head turned to the right. He has light skin, ruddy cheeks with a brown mole, a long nose, and small red lips in a neutral expression.

Joseph Wright of Derby Portrait of a Gentleman, c. 1770-1773 National Gallery of Art

This painting features a woman from the waist up, her body angled slightly to the right, looking out at us. She has pale skin with rosy cheeks, blue eyes, arched gray eyebrows, and pink lips that are slightly upturned.

Gilbert Stuart Henrietta Marchant Liston (Mrs. Robert Liston), 1800 National Gallery of Art

A woman kneels, angled to our left, and tips her face down toward a naked baby propped on a pillow against a pile of hay in a shed-like structure in this round painting.

Sandro Botticelli The Virgin Adoring the Child, 1480/1490 National Gallery of Art

Bayside, New Rochelle, New York, Eastman Johnson, 1886, oil on canvas

Eastman Johnson Bayside, New Rochelle, New York, 1886 The Met

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

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

The Apotheosis of the Spanish Monarchy, Giovanni Battista Tiepolo, 1760s, oil on canvas

Giovanni Battista Tiepolo The Apotheosis of the Spanish Monarchy, 1760s The Met

Samuel Verplanck, John Singleton Copley, 1771, oil on canvas

John Singleton Copley Samuel Verplanck, 1771 The Met

A multitude of vibrantly colored shapes interweave with one another.

Marsden Hartley Movement, 1913 Art Institute of Chicago

A woman with pale skin and dark brown hair is swathed in silky fabric as she reclines along a gray couch in this horizontal painting. Her head rests along the backrest of the sofa to our left, so her body extends to our right.

John Singer Sargent Nonchaloir (Repose), 1911 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

Shown from the chest up, an older man with pale, peachy skin, wearing a high-collared black coat and a cream-white, ruffled collar, is shown against a deep wine-red background in this vertical portrait painting.

Gilbert Stuart George Washington (Vaughan portrait), 1795 National Gallery of Art

Johannes Vermeer Woman Holding a Balance, c. 1664 National Gallery of Art

A View near Tivoli (Morning), Thomas Cole, 1832, oil on canvas

Thomas Cole A View near Tivoli (Morning), 1832 The Met

Corn Husking at Nantucket, Eastman Johnson, ca. 1875, oil on canvas

Eastman Johnson Corn Husking at Nantucket, ca. 1875 The Met

Harbor of Boston, with the City in the Distance, Fitz Henry Lane, c. 1846–47, oil on canvas

Fitz Henry Lane Harbor of Boston, with the City in the Distance, c. 1846–47 Cleveland Museum of Art

This painting shows a person seated at a table in a bright yellow chair, facing the right. The person has pale skin and gray hair, and they are wearing a loose-fitting light brown garment, similar to a long coat or dress.

Édouard Vuillard Breakfast, 1894 National Gallery of Art

The Italian Woman, Amedeo Modigliani, ca. 1918–19, oil on canvas

Amedeo Modigliani The Italian Woman, ca. 1918–19 The Met

Afternoon sunlight pours over a town crowded along the banks of a serene, glass-green river that runs through the middle of this horizontal painting. Several buildings cluster to our left on the riverbank close to us.

Bernardo Bellotto View of Munich, c. 1761 National Gallery of Art

Shown from about the hips up, a young, pale-skinned man with curly brown hair stands facing and looking at us, wearing a plum-purple coat under a golden yellow cape in this vertical portrait painting.

Anthony van Dyck Philip, Lord Wharton, 1632 National Gallery of Art

Painting depicting Christ anointed by a woman in yellow, seated centrally at a crowded table of guests with long thin grayish faces in colorful robes with strong white highlights.

El Greco The Feast in the House of Simon, c. 1608–14 Art Institute of Chicago

This painting depicts a scene overlooking a calm body of water. A large sailing ship with two tall masts and a dark hull is anchored on the water, its sails tied up. On the left, there are two people in a small, dark rowboat.

Eugène Boudin Ship on the Touques, c. 1888/1895 National Gallery of Art

Toussaint Lemaistre (1807/8–1888), Camille Corot, 1833, oil on canvas

Camille Corot Toussaint Lemaistre (1807/8–1888), 1833 The Met

We look down onto nine pieces of fruit, a pitcher, a goblet, and a dish arranged on a rustic wood table in front of a floral curtain in this nearly square, loosely painted still life.

Paul Cézanne Still Life with Milk Jug and Fruit, c. 1900 National Gallery of Art

The Triumph of Fame; (reverse) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families, Giovanni di ser Giovanni Guidi, ca. 1449, tempera, silver, and gold on wood

Giovanni di ser Giovanni Guidi The Triumph of Fame; (reverse) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families, ca. 1449 The Met

This painting shows a grand building with elaborate arches, columns, statues, and staircases, in front of which is a courtyard filled with people facing away from us.

Francesco Guardi Temporary Tribune in the Campo San Zanipolo, Venice, 1782 or after National Gallery of Art

Hendrickje Stoffels (1626–1663), Rembrandt van Rijn, mid-1650s, oil on canvas

Rembrandt van Rijn Hendrickje Stoffels (1626–1663), mid-1650s The Met

Hunting near Hartenfels Castle, Lucas Cranach the Elder, 1540, oil, originally on wood, transferred to masonite

Lucas Cranach the Elder Hunting near Hartenfels Castle, 1540 Cleveland Museum of Art

This painting depicts a coastal scene overlooking a quiet shore. At the bottom of the painting, an open sandy expanse leads to blue waters.

Odilon Redon Village by the Sea in Brittany, c. 1880 National Gallery of Art

The image depicts a man from the waist up, positioned in a three-quarter view as he looks to his left. He has a fair complexion, a reddish-brown close-cropped beard, and medium brown hair cut at ear length.

Barthel Bruyn the Elder Portrait of a Man, c. 1530/1540 National Gallery of Art

Copy after Delacroix's "Bark of Dante", Édouard Manet, ca. 1859, oil on canvas

Édouard Manet Copy after Delacroix's "Bark of Dante", ca. 1859 The Met

Cliffs at Deir el Bahri, Egypt, John Singer Sargent, 1890–91, oil on canvas

John Singer Sargent Cliffs at Deir el Bahri, Egypt, 1890–91 The Met

Vibrant colored painting of beachscape with figures, structure, and ox pulled cart.

Wassily Kandinsky Painting with Troika, January 18, 1911 Art Institute of Chicago

Portrait of a Man, Gustave Courbet, probably ca. 1862, oil on canvas

Gustave Courbet Portrait of a Man, probably ca. 1862 The Met

The Drummond Children, Henry Raeburn, ca. 1808–9, oil on canvas

Henry Raeburn The Drummond Children, ca. 1808–9 The Met

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