Paintings for Mustard Walls (page 8)

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 337 to 384 of 832.

We look down onto a pile with a newspaper, theater program, pipe, a black and white checkerboard, and other objects painted as abstracted, geometric forms on a tabletop in this nearly square still life painting.

Juan Gris Fantômas, 1915 National Gallery of Art

This painting depicts a street scene from a slightly elevated perspective. A tan dirt road stretches into the distance, lined with white houses on the left side.

Alfred Sisley Marly-le-Roi, c. 1875 National Gallery of Art

Anna Maria Brodeau Thornton (Mrs. William Thornton), Gilbert Stuart, 1804, oil on canvas

Gilbert Stuart Anna Maria Brodeau Thornton (Mrs. William Thornton), 1804 National Gallery of Art

The Musicians, Caravaggio, 1597, oil on canvas

Caravaggio The Musicians, 1597 The Met

Nocturne, John La Farge, ca. 1885, watercolor, gouache, and charcoal on off-white wove paper adhered to wove paper

John La Farge Nocturne, ca. 1885 The Met

Jean-Baptiste-Siméon Chardin The Scullery Maid, c. 1738 National Gallery of Art

The Weeders, Jules Breton, 1868, oil on canvas

Jules Breton The Weeders, 1868 The Met

Bacchante on a Panther, William-Adolphe Bouguereau, 1855, oil on fabric

William-Adolphe Bouguereau Bacchante on a Panther, 1855 Cleveland Museum of Art

This painting shows three large peaches on a round white plate. The peaches are in shades of red, pink, and light yellow, and they cast dark shadows on the plate. The plate rests on a brown surface which fills the background of the image.

Henri Fantin-Latour Three Peaches on a Plate, 1868 National Gallery of Art

Roses in a Bowl, Henri Fantin-Latour, 1881, oil on canvas

Henri Fantin-Latour Roses in a Bowl, 1881 Art Institute of Chicago

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

Peter Paul Rubens Head of One of the Three Kings: Melchior, The Assyrian King, c. 1618 National Gallery of Art

Winding Yarn (Interior of a Nantucket Kitchen), Eastman Johnson, 1872, oil on board

Eastman Johnson Winding Yarn (Interior of a Nantucket Kitchen), 1872 Cleveland Museum of Art

Apples, Paul Cézanne, 1878–79, oil on canvas

Paul Cézanne Apples, 1878–79 The Met

This painting shows a portrait of a woman, depicted from the thighs up. She is seated with her body and head facing forward.

Amedeo Modigliani Madame Amédée (Woman with Cigarette), 1918 National Gallery of Art

The Titan's Goblet, Thomas Cole, 1833, oil on canvas

Thomas Cole The Titan's Goblet, 1833 The Met

This painting shows six people standing closely together, facing the left, mostly seen from the waist up. The scene is heavily shadowed, and the facial features of the people are mostly made of dark lines.

Honoré Daumier The Beggars, c. 1843 National Gallery of Art

John Gray (1731–1811) of Newholm, Henry Raeburn, 1800, oil on canvas

Henry Raeburn John Gray (1731–1811) of Newholm, 1800 The Met

William Forsyth (1749–1814), Henry Raeburn, ca. 1800, oil on canvas

Henry Raeburn William Forsyth (1749–1814), ca. 1800 The Met

View on the Catskill—Early Autumn, Thomas Cole, 1836–37, oil on canvas

Thomas Cole View on the Catskill—Early Autumn, 1836–37 The Met

In saturated, vivid tones of mint green, marigold orange, dandelion yellow, sky blue, and rose pink, a long building stretches away from us along a walkway.

Ernst Ludwig Kirchner Dance Hall Bellevue [obverse], 1909/1910 National Gallery of Art

In a deeply shadowed room, two women and several children are gathered at the center of this wide, oval painting, looking toward a young man and donkey who peer in over a half-door to our left.

Jean-Honoré Fragonard The Happy Family, c. 1775 National Gallery of Art

A balding man with peach-colored skin and a drooping white mustache is surrounded by flowers floating in a blue sky with apricot-colored clouds in this vertical painting. He is shown from the waist up facing us at the bottom center.

Odilon Redon Evocation of Roussel, c. 1912 National Gallery of Art

Broken Eggs, Jean-Baptiste Greuze, 1756, oil on canvas

Jean-Baptiste Greuze Broken Eggs, 1756 The Met

Irregular, geometric shapes in burnt orange, pale peach, light blue, forest and mint green, brown, taupe, gray, and black are layered and spread across this horizontal, abstract painting. They are mostly flat planes of color.

Juan Gris Glass and Checkerboard, c. 1917 National Gallery of Art

A passenger boat, its bright tan sails reflecting the sun, careens among choppy water with at least eight more sailboats and a town along the water’s edge in the distance in this horizontal landscape painting.

Joseph Mallord William Turner Rotterdam Ferry-Boat, 1833 National Gallery of Art

The Beeches, Asher Brown Durand, 1845, oil on canvas

Asher Brown Durand The Beeches, 1845 The Met

Portrait of a light-skinned man in a long white wig and red-orange coat, holding a folded piece of paper and standing next to a desk, a large sailing ship off his left shoulder.

John Smibert Richard Bill, 1733 Art Institute of Chicago

The image shows a group of five individuals - four standing and one seated in the foreground. The standing individuals have varied hand positions; two hold long pipes, and one appears to hold a bow and arrow.

George Catlin Chief and Members of the Konza Tribe, 1861/1869 National Gallery of Art

Beneath two tall, tower-like structures, thirteen men, women, and children gather to give or receive food and foodstuff, all against a shiny gold background in this vertical painting. All the people have light skin tinged with green.

Andrea di Bartolo Joachim and Anna Giving Food to the Poor and Offerings to the Temple, c. 1400/1405 National Gallery of Art

The dark, forest-green canopies of trees to our right are silhouetted against a sky that warms from pale blue along the top edge of the composition to butter yellow along the horizon, which comes about a quarter of the way up this…

Jean-Honoré Fragonard Mountain Landscape at Sunset, c. 1765 National Gallery of Art

A bearded man with wrinkled, peachy skin and reddened cheeks sits and smokes a pipe on a wooden box in a landscape in this vertical painting. The man’s body faces us, and he peers at us with dark eyes under heavy, bushy white brows.

George Caleb Bingham Mississippi Boatman, 1850 National Gallery of Art

Jean-Honoré Fragonard Young Girl Reading, c. 1769 National Gallery of Art

In the Auvergne, Jean-François Millet, c. 1866–69, oil on canvas

Jean-François Millet In the Auvergne, c. 1866–69 Art Institute of Chicago

A young boy with pale skin and short brown hair, wearing a black and gold jerkin and breeches, white lace collar, and buttercup-yellow stockings, stands facing us with a dog at his heels in this vertical portrait painting.

Anthony van Dyck Filippo Cattaneo, 1623 National Gallery of Art

The painting depicts a wide country road seen from above. The horizon is halfway up the painting, showing the flat, green land meeting the blue sky. Far in the distance there are faint blue buildings, including a tall tower.

Jan Brueghel the Elder Wooded Landscape with Travelers, 1610 National Gallery of Art

Two women, a man, and two pudgy children create a close-knit group against a dark brown background in this vertical painting. The people all have pale skin with rosy cheeks, blond or copper-colored hair, and delicate gold rings as halos.

Agnolo Bronzino The Holy Family, c. 1527/1528 National Gallery of Art

Portrait of a Man, Jean-François Millet, c. 1845, oil on canvas

Jean-François Millet Portrait of a Man, c. 1845 National Gallery of Art

Roses in a Vase, Pierre-Auguste Renoir, c. 1890, oil on fabric

Pierre-Auguste Renoir Roses in a Vase, c. 1890 Cleveland Museum of Art

Far below us, a river winds through a valley lined with hazy mountains in this horizontal landscape painting.

Thomas Moran The Juniata, Evening, 1864 National Gallery of Art

Cider Making, William Sidney Mount, 1840–41, oil on canvas

William Sidney Mount Cider Making, 1840–41 The Met

Large painting, woman in pink dress in front of classical sculpture, shrine.

Joshua Reynolds Lady Sarah Bunbury Sacrificing to the Graces, 1763–65 Art Institute of Chicago

Shown from the chest up against a black background, a man with peachy skin wears a gold and rose-pink cloak in this vertical portrait painting.

Giovanni Bellini Giovanni Emo, c. 1475/1480 National Gallery of Art

We look across an expanse of a flat, grassy lawn at the towering spire of a stone church outlined against billowing clouds in this horizontal landscape painting.

John Constable Salisbury Cathedral from Lower Marsh Close, 1820 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

People walk, sit, or stand on a plaza along a canal lined on the far side with buildings in this horizontal landscape painting.

Bernardo Bellotto The Campo di SS. Giovanni e Paolo, Venice, 1743/1747 National Gallery of Art

Orchid Blossoms, Martin Johnson Heade, 1873, oil on canvas

Martin Johnson Heade Orchid Blossoms, 1873 Cleveland Museum of Art

A young girl with medium skin wears a striking dress of black and white stripes with a short lace collar. Behind her is backdrop featuring symbols and native figures. Mangos sit beside her.

Paul Gauguin Merahi metua no Tehamana (Tehamana Has Many Parents or The Ancestors of Tehamana), 1893 Art Institute of Chicago

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