Paintings for Greige Walls (page 9)

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 385 to 432 of 1,315.

A garden with two fountains stretches back to a manor house in the distance in this horizontal landscape painting. The horizon comes about a third of the way up the composition, and gray clouds tower in the vivid blue sky above.

Jacob van Ruisdael Country House in a Park, c. 1675 National Gallery of Art

This painting shows a man from the waist up, his body turned slightly to the right. He stands upright, looking at the viewer, holding a golf club or cane horizontally with both hands.

George Bellows Chester Dale, 1922 National Gallery of Art

The painting features a sandy shore and a calm sea with sailing boats in the distance. At the bottom of the painting, people sit on the sand by the water.

Eugène Boudin Washerwoman near Trouville, c. 1872/1876 National Gallery of Art

People and a horse-drawn wagon move along a street lined with buildings on the left and trees on the right in this loosely painted horizontal landscape. The wide street angles from the bottom left of the composition to the middle right.

Alfred Sisley Boulevard Héloïse, Argenteuil, 1872 National Gallery of Art

This is a painting depicting a social gathering under a large pavilion outdoors. The background shows a green, hilly landscape with hints of brown and white buildings in the distance, under a sky of soft blues with wispy gray clouds.

Eugène Boudin Concert at the Casino of Deauville, 1865 National Gallery of Art

Arleux-Palluel, The Bridge of Trysts, Camille Corot, 1871–72, oil on canvas

Camille Corot Arleux-Palluel, The Bridge of Trysts, 1871–72 Art Institute of Chicago

Two Young Peasant Women, Camille Pissarro, 1891–92, oil on canvas

Camille Pissarro Two Young Peasant Women, 1891–92 The Met

The Harvest, Pontoise (La Récolte, Pontoise), Camille Pissarro, 1881, oil on canvas

Camille Pissarro The Harvest, Pontoise (La Récolte, Pontoise), 1881 The Met

This painting shows a woman standing, facing the right, her head slightly angled downward. She has pale skin and dark hair and is wearing a long, pale, blue-gray dress with wide sleeves adorned with black stripes.

Pierre-Auguste Renoir Woman in a Park, 1866 National Gallery of Art

Venice from the Bacino di San Marco, Francesco Guardi, ca. 1765–75, oil on canvas

Francesco Guardi Venice from the Bacino di San Marco, ca. 1765–75 The Met

This painting is a portrait of a man from the waist up. He is positioned slightly to the left, with his head turned toward us. He has light skin, green eyes, a faint moustache, and a neutral expression.

Francisco de Goya The Duke of Wellington, c. 1812 National Gallery of Art

Portrait of a Man, Rembrandt van Rijn, 1632, oil on wood

Rembrandt van Rijn Portrait of a Man, 1632 The Met

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

Te raau rahi (The Big Tree), Paul Gauguin, 1891, oil on jute canvas

Paul Gauguin Te raau rahi (The Big Tree), 1891 Art Institute of Chicago

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

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

Mrs. Henry Hill (Anna Barrett), John Singleton Copley, c. 1765–70, pastel on paper mounted on linen

John Singleton Copley Mrs. Henry Hill (Anna Barrett), c. 1765–70 Art Institute of Chicago

Under the Trees (from "The Public Gardens"), Édouard Vuillard, 1894, distemper on fabric

Édouard Vuillard Under the Trees (from "The Public Gardens"), 1894 Cleveland Museum of Art

The Seine at Bougival, Alfred Sisley, 1876, oil on canvas

Alfred Sisley The Seine at Bougival, 1876 The Met

Several people sit, stand, or stroll along a dirt road that winds from the lower left corner of this horizontal landscape painting into the distance, past trees and cottages under a vivid blue sky.

Meindert Hobbema A View on a High Road, 1665 National Gallery of Art

Shown from the knees up, a woman stands facing and looking at us with her head tilted a little to our left in this vertical portrait painting. She has pale skin, a heart-shaped face with rosy cheeks, and a rose-pink bow mouth.

Élisabeth Louise Vigée Le Brun Madame du Barry, 1782 National Gallery of Art

Rehearsal of the Pasdeloup Orchestra at the Cirque d'Hiver, John Singer Sargent, c. 1879, oil on canvas

John Singer Sargent Rehearsal of the Pasdeloup Orchestra at the Cirque d'Hiver, c. 1879 Art Institute of Chicago

Mount Vesuvius at Midnight, Albert Bierstadt, 1868, oil on canvas

Albert Bierstadt Mount Vesuvius at Midnight, 1868 Cleveland Museum of Art

Gideon Tucker, William Sidney Mount, 1830, oil on canvas

William Sidney Mount Gideon Tucker, 1830 The Met

Irises, Vincent van Gogh, 1890, oil on canvas

Vincent van Gogh Irises, 1890 The Met

Marine, William Merritt Chase, c. 1888, oil on wood

William Merritt Chase Marine, c. 1888 Cleveland Museum of Art

From a low vantage point, we look up a steep, rocky mountainside at a towering mountain peak in the distance in this nearly square landscape painting.

John Singer Sargent Simplon Pass, 1911 National Gallery of Art

At seascape rendered in pastel tones. At right, boats line a pink shore underneath a tall cliff. At left, a single red sailboat floats in blue water.

Claude Monet Étretat: The Beach and the Falaise d'Amont, 1885 Art Institute of Chicago

Two haystacks, dusted with snow, in a hazy, snow-covered field at sunset. The snow is highlighted in purple tones, the sky a yellow and orange gradient.

Claude Monet Stacks of Wheat (Sunset, Snow Effect), 1890–91 Art Institute of Chicago

We look slightly down onto a loosely painted scene with three ballerinas in rose-pink costumes and one man, wearing a black suit and top hat, against a backdrop made up of dabs and strokes of lime, mint, and pine green in this vertical…

Edgar Degas Dancers Backstage, 1876/1883 National Gallery of Art

Portrait of Alvise Contarini(?); (verso) A Tethered Roebuck, Jacometto, ca. 1485–95, oil on wood; verso: oil and gold on wood

Jacometto Portrait of Alvise Contarini(?); (verso) A Tethered Roebuck, ca. 1485–95 The Met

On the Unadilla, New York, Eastman Johnson, 1884, oil on canvas

Eastman Johnson On the Unadilla, New York, 1884 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

Shown from about the ankles up, a woman with ashen, pale skin, wearing a full, silvery-white dress with gray dots, sits on a low-backed white sofa against a pale peach background in this horizontal portrait painting.

Edgar Degas Madame René de Gas, 1872/1873 National Gallery of Art

Vaprio d'Adda, Bernardo Bellotto, 1744, oil on canvas

Bernardo Bellotto Vaprio d'Adda, 1744 The Met

Johann I (1468–1532), the Constant, Elector of Saxony, Lucas Cranach the Elder, 1532–33, oil on canvas, transferred from wood, with letterpress-printed paper labels

Lucas Cranach the Elder Johann I (1468–1532), the Constant, Elector of Saxony, 1532–33 The Met

Saint Peter Repentant, Georges de La Tour, 1645, oil on canvas

Georges de La Tour Saint Peter Repentant, 1645 Cleveland Museum of Art

This painting shows a seascape with large sailing ships and smaller vessels. To the right of center is a large ship with several tall masts and many billowing white sails.

Fitz Henry Lane New York Harbor, 1852 National Gallery 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

Trouville (Grey and Green, the Silver Sea), James McNeill Whistler, 1865, oil on canvas

James McNeill Whistler Trouville (Grey and Green, the Silver Sea), 1865 Art Institute of Chicago

Study for Eagle Head, Manchester, Massachusetts, Winslow Homer, 1869 (?), oil on wood

Winslow Homer Study for Eagle Head, Manchester, Massachusetts, 1869 (?) The Met

Cupids in Conspiracy, François Boucher, 1740s, oil on canvas

François Boucher Cupids in Conspiracy, 1740s Cleveland Museum of Art

Painting of woman in a striped dress seated on the bank of a river, beneath a full, leafy tree, a boat at the shore and a village visible across the river.

Claude Monet On the Bank of the Seine, Bennecourt, 1868 Art Institute of Chicago

Landscape at Saint-Ouen, Georges Seurat, 1878 or 1879, oil on wood, mounted on wood

Georges Seurat Landscape at Saint-Ouen, 1878 or 1879 The Met

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

Giovanni Battista Tiepolo Allegorical Figure Representing Fortitude, 1760 The Met

Richard Dana, John Singleton Copley, ca. 1770, oil on canvas

John Singleton Copley Richard Dana, ca. 1770 The Met

Watering Place at Marly, Alfred Sisley, 1875, oil on canvas

Alfred Sisley Watering Place at Marly, 1875 Art Institute of Chicago

Still life of geranium plant, fruit, water pitcher, and two cats.

Henri Matisse Still Life with Geranium, 1906 Art Institute of Chicago

We look down and across a canal filled with more than two dozen gondolas and sailing boats, and flanked by rows golden-yellow and parchment-white buildings connected by a wide, arched bridge in this horizontal landscape painting.

Francesco Guardi Grand Canal with the Rialto Bridge, Venice, probably c. 1780 National Gallery of Art

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