Paintings for Navy Walls (page 3)

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. Showing 97 to 144 of 2,066.

Madame Théodore Gobillard (Yves Morisot, 1838–1893), Edgar Degas, 1869, oil on canvas

Edgar Degas Madame Théodore Gobillard (Yves Morisot, 1838–1893), 1869 The Met

A blue and white bowl overflowing with grapes, two loose bunches of grapes, and a vivid pink carnation lie on a white tablecloth against a dark brown background in this still life painting.

Henri Fantin-Latour Still Life with Grapes and a Carnation, c. 1880 National Gallery of Art

Two horses, one dark brown and one cream white, stand together to our right against a landscape with rolling, sage-green hills and a river or canal in this horizontal painting.

Edgar Degas Horses in a Meadow, 1871 National Gallery of Art

The Valley of Wyoming, Jasper Francis Cropsey, 1865, oil on canvas

Jasper Francis Cropsey The Valley of Wyoming, 1865 The Met

Delaware Water Gap, George Inness, 1861, oil on canvas

George Inness Delaware Water Gap, 1861 The Met

Peace and Plenty, George Inness, 1865, oil on canvas

George Inness Peace and Plenty, 1865 The Met

The Keeper of the Flock, Jean-François Millet, 1871–74, oil on canvas

Jean-François Millet The Keeper of the Flock, 1871–74 Art Institute of Chicago

We look onto the side of a rowboat crowded with nine men trying to save a pale, nude young man who flails in the water in front of us as a shark approaches, mouth agape, from our right in this horizontal painting.

John Singleton Copley Watson and the Shark, 1778 National Gallery of Art

This painting shows a rocky green ravine with a gray stream running through it, surrounded by thick foliage and large boulders. An arched stone bridge crosses over the stream in the center of the painting.

Théodore Rousseau Mountain Stream in the Auvergne, 1830 National Gallery of Art

We look across a body of calm water onto a wooden pier, rowboats, sailboats, and a town on the distant shore, all beneath a cloudy sky that takes up the top three-quarters of this horizontal landscape.

Aelbert Cuyp A Pier Overlooking Dordrecht, early 1640s 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

Weary Wayfarers, Jean-Charles Cazin, 1888, oil on canvas

Jean-Charles Cazin Weary Wayfarers, 1888 National Gallery of Art

Mary Campbell Stuart, Gilbert Stuart, c. 1815, oil on wood

Gilbert Stuart Mary Campbell Stuart, c. 1815 Cleveland Museum of Art

We look slightly down onto a bay that curves away from us into the distance and to our right in this horizontal landscape painting. C-shaped, shallow waves lap at the sandy beach from our right.

Worthington Whittredge Second Beach, Newport, c. 1878/1880 National Gallery of Art

The Edge of the Woods, Narcisse Virgilio Díaz de la Peña, 1872, oil on wood

Narcisse Virgilio Díaz de la Peña The Edge of the Woods, 1872 The Met

Painted in golden tones of butter and harvest yellow, tawny brown, and olive green, this horizontal landscape painting has a low wall stretching diagonally from the lower right corner off to our left, dividing a river to our right from a…

Joseph Mallord William Turner Mortlake Terrace, 1827 National Gallery of Art

Cremorne Gardens, No. 2, James McNeill Whistler, ca. 1870–80, oil on canvas

James McNeill Whistler Cremorne Gardens, No. 2, ca. 1870–80 The Met

The Triumph of Henry IV, Peter Paul Rubens, ca. 1630, oil on wood

Peter Paul Rubens The Triumph of Henry IV, ca. 1630 The Met

This painting shows a busy scene at the edge of the water. The horizon is visible on the left, where blue-gray sky meets blue-gray water behind a line of tall masts.

Robert Henri Volendam Street Scene, 1910 National Gallery of Art

A young man with a peachy, ruddy complexion lies on his stomach in a wooden rowboat on a river, reaching forward to grasp the horn of a stag almost completely submerged in the rippling water with one hand.

Winslow Homer Hound and Hunter, 1892 National Gallery of Art

This painting depicts a woman and a child standing in a wooded area. The woman holds a closed parasol in one hand and reaches down towards the child with the other.

Camille Corot Madame Stumpf and Her Daughter, 1872 National Gallery of Art

This painting shows a man from the chest up, positioned facing the right, gazing into the distance. The male has pale skin, a long nose, and deep-set eyes. He has dark, wavy hair, a pointed beard, and a mustache that hides his mouth.

Thomas Eakins Louis Husson, 1899 National Gallery of Art

We look across churning waves at four sailing ships and a wooden rowboat with four men aboard in this horizontal painting. Dark, iron-gray and tawny-brown clouds approaching from the right fill the top two-thirds of the composition.

Joseph Mallord William Turner The Junction of the Thames and the Medway, 1807 National Gallery of Art

The image shows four adults and one child seated on the ground within an oval frame. The child is on the far left, lying down with a bow and arrow.

George Catlin The Sioux Chief with Several Indians, 1861/1869 National Gallery of Art

Three figures stand side by side in an outdoor setting. The person on the left is facing forward, holding a shield. They have long dark hair with feathers and wear a fringed outfit.

George Catlin Two Nezperce Warriors and a Boy, 1855/1869 National Gallery of Art

The Falls of Niagara, Edward Hicks, ca. 1825, oil on canvas

Edward Hicks The Falls of Niagara, ca. 1825 The Met

Three Pears and an Apple, Eastman Johnson, 1857, oil on board

Eastman Johnson Three Pears and an Apple, 1857 National Gallery of Art

The Cascade, Jean-Honoré Fragonard, ca. 1775, oil on wood

Jean-Honoré Fragonard The Cascade, ca. 1775 The Met

The Glorification of the Eucharist, Peter Paul Rubens, ca. 1630–32, oil on wood

Peter Paul Rubens The Glorification of the Eucharist, ca. 1630–32 The Met

We look across and down into a valley with a person sitting near a tall tree and a train puffing smoke beyond, all enclosed by a band of mountains in the distance in this horizontal landscape painting.

George Inness The Lackawanna Valley, c. 1856 National Gallery of Art

This painting shows a landscape with a wide river on the right flowing through green hills.

John Frederick Kensett View on the Genesee near Mount Morris, 1857 National Gallery of Art

Rocky, Wooded Landscape with a Dell and Weir, Thomas Gainsborough, c. 1782–1783, oil on canvas

Thomas Gainsborough Rocky, Wooded Landscape with a Dell and Weir, c. 1782–1783 Cleveland Museum of Art

Fête champêtre (Pastoral Gathering), Antoine Watteau, 1718–21, oil on panel

Antoine Watteau Fête champêtre (Pastoral Gathering), 1718–21 Art Institute of Chicago

This painting shows a woodland scene with dense trees on the right side, their white and brown trunks twisting upwards and their leaves in shades of dark green, yellow ochre, and rusty orange.

Narcisse Virgilio Díaz de la Peña The Edge of the Forest at Les Monts-Girard, Fontainebleau, 1868 National Gallery of Art

The Garden of the Tuileries on a Winter Afternoon, Camille Pissarro, 1899, oil on canvas

Camille Pissarro The Garden of the Tuileries on a Winter Afternoon, 1899 The Met

A middle-aged, light-skinned man stands facing and looking at us, leaning on one arm propped on a tall rock in a landscape in this vertical portrait painting. The man looks out with dark blue eyes under curved black brows.

Charles Willson Peale John Beale Bordley, 1770 National Gallery of Art

A crouching tiger to our left bares its fangs at a hissing snake wound around a tree to our right in this nearly square painting.

Eugène Delacroix Tiger and Snake, 1862 National Gallery of Art

The painting shows a cityscape with a large cylindrical reddish-brown fortress on the right. In the center, a wide river winds through the city, with people by the riverbank and more people walking along a winding road on the left.

Francesco Guardi Fanciful View of the Castel Sant'Angelo, Rome, c. 1785 National Gallery of Art

Still Life with Pansies, Henri Fantin-Latour, 1874, oil on canvas

Henri Fantin-Latour Still Life with Pansies, 1874 The Met

A path enclosed almost entirely with trees stretches into a dense, sun-dappled forest before us in this horizontal landscape painting.

Narcisse Virgilio Díaz de la Peña In the Forest, 1874 National Gallery of Art

Two pale-skinned women sit facing each other on a long sofa centered on the wall across from us in a room warmly lit from the right in this horizontal painting. The scene is loosely painted so some details are indistinct.

William Merritt Chase A Friendly Call, 1895 National Gallery of Art

This painting depicts a rural landscape with a shepherdess tending to a flock of sheep on a tree-lined dirt path. She is facing away from us and wears a blue skirt with a white shirt and a white bonnet covering her hair.

George Inness Hillside at Étretat, 1876 National Gallery of Art

In the Woods, George Inness, 1866, oil on board

George Inness In the Woods, 1866 Cleveland Museum of Art

The image shows three individuals against a natural background. On the left, a man is seated on the ground, his body wrapped in a beige cloth. He has long, dark hair and a solemn expression, holding a long pipe.

George Catlin Old Menomonie Chief with Two Young Beaux, 1861/1869 National Gallery of Art

This painting shows the upper body of a woman seated in a chair. She is wearing a white bonnet with ruffled edges, covering her wavy, light brown hair. Her facial features include fair skin, thin lips, a long nose, and a pointed chin.

Gilbert Stuart Sarah Homes Tappan (Mrs. Benjamin Tappan), 1814 National Gallery of Art

A man stands with one arm resting over the back of a chestnut-brown horse as two women approach the animal in this horizontal portrait painting set in a landscape. The people have pale skin, dark eyes, and ash-brown or gray hair.

George Stubbs Captain Samuel Sharpe Pocklington with His Wife, Pleasance, and possibly His Sister, Frances, 1769 National Gallery of Art

Across a short stretch of sand in front of us, waves of bottle-green water break over two boulders on the shoreline, with sailboats in the water beyond, in this wide, horizontal painting.

Martin Johnson Heade Rio de Janeiro Bay, 1864 National Gallery of Art

Shown from the waist up, a smiling, light-skinned young man wears a voluminous, dark hat and a brown suit in this vertical portrait painting.

Frans Hals A Young Man in a Large Hat, 1626/1629 National Gallery of Art

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