Paintings for Greige Walls (page 26)

Soft and muted

Gentle, low-color paintings that keep a pale room calm. The softest come first, then the lightest, so nothing shouts against greige. Showing 1,201 to 1,248 of 1,315.

Sunset on the River Oise, Charles-François Daubigny, 1866, oil on wood panel

Charles-François Daubigny Sunset on the River Oise, 1866 Cleveland Museum of Art

The Muse: History, Camille Corot, ca. 1865, oil on canvas

Camille Corot The Muse: History, ca. 1865 The Met

Charles Claude de Flahaut (1730–1809), Comte d'Angiviller, Jean-Baptiste Greuze, 1763, oil on canvas

Jean-Baptiste Greuze Charles Claude de Flahaut (1730–1809), Comte d'Angiviller, 1763 The Met

Shown from the knees up, a cleanshaven, young man with pale, peachy skin leans on his right elbow, to our left, against a ledge and holds a black top hat in that hand in this vertical portrait painting.

Francisco de Goya Bartolomé Sureda y Miserol, c. 1803/1804 National Gallery of Art

Open Doorway, Morocco, John Singer Sargent, 1879–80, oil on wood

John Singer Sargent Open Doorway, Morocco, 1879–80 The Met

The Companions of Rinaldo, Nicolas Poussin, ca. 1633, oil on canvas

Nicolas Poussin The Companions of Rinaldo, ca. 1633 The Met

This painting is a portrait of a person with dark hair styled neatly in an updo with soft waves over their forehead.

Thomas Eakins Harriet Husson Carville (Mrs. James G. Carville), 1904 National Gallery of Art

Head of a Young Woman, Jean-Baptiste Greuze, possibly 1780s, oil on canvas

Jean-Baptiste Greuze Head of a Young Woman, possibly 1780s The Met

The head and shoulders of a pale-skinned, clean-shaven man fills this vertical portrait painting. The man’s shoulders are angled to our left, and he looks off in that direction with light green eyes.

Giovanni Bellini Portrait of a Young Man, c. 1490 National Gallery of Art

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

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

View of La Crescenza, Claude Lorrain, 1648–50, oil on canvas

Claude Lorrain View of La Crescenza, 1648–50 The Met

Fight Between a Tiger and a Buffalo, Henri Rousseau, 1908, oil on fabric

Henri Rousseau Fight Between a Tiger and a Buffalo, 1908 Cleveland Museum of Art

Fountain of Venus, François Boucher, 1756, oil on canvas

François Boucher Fountain of Venus, 1756 Cleveland Museum of Art

Madame Henri François Riesener (Félicité Longrois, 1786–1847), Eugène Delacroix, 1835, oil on canvas

Eugène Delacroix Madame Henri François Riesener (Félicité Longrois, 1786–1847), 1835 The Met

This oval painting shows a cherubic child floating mid-air with one leg bent and their arms outstretched. The cherub has curly hair, a round face, and pale skin dusted with rosy pink and light teal shadows. They are smiling gently.

Jean-Honoré Fragonard Love as Folly, c. 1773/1776 National Gallery of Art

We look across a dark, aquamarine-blue body of water at a bulky, stony outcropping to our right in this horizontal landscape painting.

John Frederick Kensett Beacon Rock, Newport Harbor, 1857 National Gallery of Art

A pensive faced woman sits, slightly hunched, holding a book.

Camille Corot Interrupted Reading, c. 1870 Art Institute of Chicago

Shown from the knees up, a pale-skinned woman looking off to the left from her seat on a divan wears a carnation-pink gown and a fur-lined cloak in this vertical portrait painting.

John Singleton Copley Abigail Smith Babcock (Mrs. Adam Babcock), c. 1774 National Gallery of Art

Pope Pius VI Descending the Throne to Take Leave of the Doge in the Hall of Saints Giovanni e Paolo, 1782, Francesco Guardi, c. 1783, oil on canvas

Francesco Guardi Pope Pius VI Descending the Throne to Take Leave of the Doge in the Hall of Saints Giovanni e Paolo, 1782, c. 1783 Cleveland Museum of Art

The Jabach Family, Charles Le Brun, ca. 1660, oil on canvas

Charles Le Brun The Jabach Family, ca. 1660 The Met

Lormes: Goat-Girl Sitting Beside a Stream in a Forest, Camille Corot, 1842, oil on fabric

Camille Corot Lormes: Goat-Girl Sitting Beside a Stream in a Forest, 1842 Cleveland Museum of Art

William Robertson (1753–1835), Lord Robertson, Henry Raeburn, 1805, oil on canvas

Henry Raeburn William Robertson (1753–1835), Lord Robertson, 1805 The Met

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

Pirna: The Obertor from the South, Bernardo Bellotto, mid-1750s, oil on canvas

Bernardo Bellotto Pirna: The Obertor from the South, mid-1750s The Met

Portrait of a Young Woman, Jean-Honoré Fragonard, 1770s, oil on canvas

Jean-Honoré Fragonard Portrait of a Young Woman, 1770s The Met

Dawn—Early Spring, Dwight William Tryon, 1894, oil on wood

Dwight William Tryon Dawn—Early Spring, 1894 The Met

Four people wearing earthy brown gather near a stream that runs through a lush forest carpeted and filled with moss, pine, and sage green trees and undergrowth, interlaced with thin, willowy tree trunks in this horizontal landscape…

Camille Corot The Eel Gatherers, 1860/1865 National Gallery of Art

A pale-skinned woman wearing a long, rose-pink gown sits amid a lush landscape in this vertical portrait painting. The woman’s body is angled to our left, but she turns her head to look at us with green eyes under dark brows.

Thomas Gainsborough Mrs. Richard Brinsley Sheridan, 1785-1787 National Gallery of Art

Shown from the hips up, a light-skinned woman with deeply flushed cheeks sits in an armchair, looking at us from under raised and pointed eyebrows in this vertical portrait painting.

Gilbert Stuart Abigail Smith Adams (Mrs. John Adams), 1800/1815 National Gallery of Art

A man with pale peach skin and dark hair wears a military uniform and stands in front of a desk in this vertical portrait painting. He nearly fills the composition so seems close to us, and he looks directly at us.

Jacques-Louis David The Emperor Napoleon in His Study at the Tuileries, 1812 National Gallery of Art

Shown from the chest up, a pale-skinned, clean-shaven man looks off to our left against a moss-green background in this vertical portrait painting.

Albrecht Dürer Portrait of a Clergyman (Johann Dorsch?), 1516 National Gallery of Art

Study for "William Rush Carving His Allegorical Figure of the Schuylkill River", Thomas Eakins, 1876–77, oil on canvas mounted on board

Thomas Eakins Study for "William Rush Carving His Allegorical Figure of the Schuylkill River", 1876–77 Art Institute of Chicago

Elie Williams, Charles Willson Peale, 1789, oil on canvas

Charles Willson Peale Elie Williams, 1789 The Met

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

Gilbert Stuart Albert Gallatin, ca. 1803 The Met

Portrait of Isabella Brant, Peter Paul Rubens, c. 1620–25, oil on wood

Peter Paul Rubens Portrait of Isabella Brant, c. 1620–25 Cleveland Museum of Art

Portrait of Jean-Baptiste Lemoyne the Younger, Élisabeth Louise Vigée Le Brun, 1774, oil on canvas

Élisabeth Louise Vigée Le Brun Portrait of Jean-Baptiste Lemoyne the Younger, 1774 Cleveland Museum of Art

The Baptism of Christ, Jacopo Bassano, ca. 1590, oil on canvas

Jacopo Bassano The Baptism of Christ, ca. 1590 The Met

Shown from the hips up, a pale-skinned woman wearing white sits facing us against a golden-toned landscape background in this vertical portrait painting.

Henry Raeburn Miss Eleanor Urquhart, c. 1793 National Gallery of Art

In this painting, a collection of large, ripe peaches sits on a light green plate with a white rim. The peaches are painted in shades of orange, yellow, and red, with some areas of dark red and black.

Pierre-Auguste Renoir Peaches on a Plate, 1902/1905 National Gallery of Art

Neptune and the Winds, Giovanni Battista Tiepolo, 1760s, oil on canvas

Giovanni Battista Tiepolo Neptune and the Winds, 1760s The Met

Landscape with Figures (Les Bohémiens), Camille Corot, 1872, oil on canvas

Camille Corot Landscape with Figures (Les Bohémiens), 1872 The Met

Juan de Pareja (ca. 1608–1670), Diego Velázquez, 1650, oil on canvas

Diego Velázquez Juan de Pareja (ca. 1608–1670), 1650 The Met

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

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

Boston Harbor, Thomas Chambers, mid 19th century, oil on canvas

Thomas Chambers Boston Harbor, mid 19th century National Gallery of Art

Reapers Resting in a Wheat Field, John Singer Sargent, 1885, oil on canvas

John Singer Sargent Reapers Resting in a Wheat Field, 1885 The Met

The image shows a landscape with a settlement surrounded by lush greenery and mountains in the distance. The mountains are partly covered by clouds. The painting technique is smooth and gentle, giving the scene a serene atmosphere.

George Catlin A Crow Village and the Salmon River Mountains, 1855/1869 National Gallery of Art

This vertical portrait painting shows a pale-skinned older woman wearing a full, long-sleeved black dress with a wide white ruff at her neck and white lace cuffs at her wrists.

Frans Hals Portrait of a Woman Aged Sixty, 1633 National Gallery of Art

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