Paintings for Navy Walls (page 5)

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. Showing 193 to 240 of 2,066.

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

The Trotter, Charles S. Humphreys, c. 1860, oil on canvas

Charles S. Humphreys The Trotter, c. 1860 National Gallery of Art

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

Annie C. Lochrey Husson (Mrs. Louis Husson), Thomas Eakins, c. 1905, oil on canvas

Thomas Eakins Annie C. Lochrey Husson (Mrs. Louis Husson), c. 1905 National Gallery of Art

A pink-toned sandy beach meets a placid body of pale blue water under a hazy sky in this horizontal landscape painting.

John Frederick Kensett Beach at Beverly, c. 1869/1872 National Gallery 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

Roses in a Vase, Henri Fantin-Latour, 1878, oil on fabric

Henri Fantin-Latour Roses in a Vase, 1878 Cleveland Museum of Art

Pierre-Auguste Renoir Young Spanish Woman with a Guitar, 1898 National Gallery of Art

The Raffle (Raffling for the Goose), William Sidney Mount, 1837, oil on mahogany

William Sidney Mount The Raffle (Raffling for the Goose), 1837 The Met

Camouflaged Field in France, John Singer Sargent, 1918, watercolor, gouache, graphite, and wax crayon on white wove paper

John Singer Sargent Camouflaged Field in France, 1918 The Met

Saint Anthony the Abbot in the Wilderness, Sano di Pietro, ca. 1440, tempera and gold on wood

Sano di Pietro Saint Anthony the Abbot in the Wilderness, ca. 1440 The Met

Long scroll drawing, upper half is script; lower half depicts people in courtyard.

Ike Taiga Group Pilgrimage to the Jizo Nun, 1755/65 Art Institute of Chicago

Still Life with Roses and Fruit, Henri Fantin-Latour, 1863, oil on canvas

Henri Fantin-Latour Still Life with Roses and Fruit, 1863 The Met

Variations in Violet and Grey—Market Place, Dieppe, James McNeill Whistler, 1885, gouache and watercolor on off-white wove paper, mounted on academy board

James McNeill Whistler Variations in Violet and Grey—Market Place, Dieppe, 1885 The Met

Mrs. George Swinton (Elizabeth Ebsworth), John Singer Sargent, 1897, oil on canvas

John Singer Sargent Mrs. George Swinton (Elizabeth Ebsworth), 1897 Art Institute of Chicago

Shown from about the hips up against a sable-brown background, a pale-skinned woman stands cradling an apple with both hands at her waist in this vertical portrait painting.

Titian Woman Holding an Apple, c. 1550 National Gallery of Art

Cows, horses, sheep, and pigs stand closely together in a band across the bottom edge of this horizontal painting. Rolling hills open onto grassy lawns, farms, and fields beyond.

Edward Hicks The Cornell Farm, 1848 National Gallery of Art

Shown from the knees up, a seated woman is surrounded by an arch of disembodied, winged baby heads as she gazes down at an infant lying across her lap in this vertical painting.

Jacopo Tintoretto The Madonna of the Stars, c. 1575/1585 National Gallery of Art

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

Martin Johnson Heade Apple Blossoms, 1873 Cleveland Museum of Art

The Capture of Samson, Peter Paul Rubens, 1609–10, oil on panel

Peter Paul Rubens The Capture of Samson, 1609–10 Art Institute of Chicago

The painting depicts a busy harbor scene with ships and masts rising into the blue-gray sky. The brushstrokes are loose and impressionistic, in shades of soft grey, brown, and blue, with some pops of red and yellow from indistinct objects.

Eugène Boudin The Trawlers, 1885 National Gallery of Art

Summer Flowers, Henri Fantin-Latour, 1880, oil on canvas

Henri Fantin-Latour Summer Flowers, 1880 The Met

A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?), Edgar Degas, 1865, oil on canvas

Edgar Degas A Woman Seated beside a Vase of Flowers (Madame Paul Valpinçon?), 1865 The Met

High Tide on the Marshes, Martin Johnson Heade, 1872, oil on canvas

Martin Johnson Heade High Tide on the Marshes, 1872 Cleveland Museum of Art

The image features a variety of fruit, including large white melons, a sliced red watermelon, and clusters of dark and white grapes with an assortment of green leaves.

Chipman Melons and Grapes, mid 19th century National Gallery 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

Friar Pedro Clubs El Maragato with the Butt of the Gun, Francisco de Goya, c. 1806, oil on panel

Francisco de Goya Friar Pedro Clubs El Maragato with the Butt of the Gun, c. 1806 Art Institute of Chicago

Children and a Cow, Aelbert Cuyp, 1635–39, oil on wood

Aelbert Cuyp Children and a Cow, 1635–39 The Met

Hackensack Meadows, Jasper Francis Cropsey, 1890, watercolor, gouache, and graphite on off-white wove paper

Jasper Francis Cropsey Hackensack Meadows, 1890 The Met

George Stubbs White Poodle in a Punt, c. 1780 National Gallery of Art

For the Little One, William Merritt Chase, ca. 1896, oil on canvas

William Merritt Chase For the Little One, ca. 1896 The Met

Painted with wide strokes in almost geometric areas of mottled color, a woman wearing a long black dress stands at the side of a table in this stylized, vertical composition.

Édouard Vuillard Woman in Black, c. 1891 National Gallery of Art

A woman wearing a white and pale pink robe and holding a sickle sits on billowing clouds flanked by a lion and two young people in this vertical, oval painting. All three people have pale skin with rosy cheeks and blond hair.

Antoine Watteau Ceres (Summer), c. 1717/1718 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

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

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

The image shows a large blue and grey bowl filled with various fruits, including grapes, peaches, and a pineapple. The color palette consists of blues, greens, yellows, oranges, and browns.

William Stearns Bowl of Fruit, c. 1830/1840 National Gallery of Art

A snowy street with a horse and carriage is flanked to each side by tall buildings in this vertical painting. The overcast scene is loosely painted with visible brushstrokes throughout, so some details are difficult to make out.

Robert Henri Snow in New York, 1902 National Gallery of Art

Dense green vegetation surrounds a band of sun-dappled boulders that arc shallowly across this horizontal landscape painting. Just to our left of center and on our side of the boulders are several slender tree trunks.

Camille Corot Rocks in the Forest of Fontainebleau, 1860/1865 National Gallery of Art

This painting shows a slightly elevated viewpoint looking out across a green landscape towards a reflective body of water. In the green sky, the pale-yellow moon glows brightly, illuminating the scene.

Ralph Albert Blakelock Moonlight, 1886/1895 National Gallery of Art

Two dark-skinned women stand facing each other on a dirt path that runs beside a body of water in this horizontal painting. One woman faces us and balances a flat tray loaded with white cloths on her head.

Camille Pissarro Two Women Chatting by the Sea, St. Thomas, 1856 National Gallery of Art

A Monumental Portrait of a Monkey, India, c. 1705–1710, opaque watercolor and gold on paper

India A Monumental Portrait of a Monkey, c. 1705–1710 Art Institute of Chicago

The image shows a woman's upper body. She is looking directly at the viewer with a calm expression. The woman has fair skin, dark brown hair styled away from her face, blue eyes, and delicate features.

William Jennys Mrs. Asa Benjamin, 1795 National Gallery of Art

New England Scenery, Thomas Cole, 1839, oil on canvas

Thomas Cole New England Scenery, 1839 Art Institute of Chicago

Etruscan Vase with Flowers, Odilon Redon, 1900–1910, tempera on canvas

Odilon Redon Etruscan Vase with Flowers, 1900–1910 The Met

American Pasturage - Prairies of the Platte, George Catlin, 1861/1869, oil on card mounted on paperboard

George Catlin American Pasturage - Prairies of the Platte, 1861/1869 National Gallery of Art

This painting depicts a snowy forest scene with a path running through tall, leafless trees.

Eastman Johnson On Their Way to Camp, 1873 National Gallery of Art

Sunny Autumn Day, George Inness, 1892, oil on canvas

George Inness Sunny Autumn Day, 1892 Cleveland Museum of Art

The Coronation of the Virgin, Peter Paul Rubens, ca. 1632–33, oil on wood

Peter Paul Rubens The Coronation of the Virgin, ca. 1632–33 The Met

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