Paintings for Olive Walls (page 9)

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 385 to 432 of 606.

A young girl wearing a rust-red dress with a tight bodice and full, voluminous skirt sits in a hazy, garden-like setting in this vertical portrait painting. Her skin is pale with a greenish cast, but her cheeks are slightly flushed.

Joshua Reynolds Lady Elizabeth Hamilton, 1758 National Gallery of Art

Moss-green land rising to a tree-topped bluff follows the curve of a sandy beach surrounding a pale blue cove in this horizontal landscape painting.

Camille Corot Beach near Etretat, c. 1872 National Gallery of Art

This painting depicts a scene where a winding path on the bottom left leads into a wooded area.

Alfred Sisley The Road in the Woods, 1879 National Gallery of Art

Two green pears lit from the upper right sit on a pale blue tabletop or ledge against a dark background in this horizontal still life painting. The left pear sits upright against the other.

Édouard Manet Pears, 1880 National Gallery of Art

From a point of view over the water, we look across a bustling canal at a bridge, which is flanked by rows of buildings to each side in this horizontal painting.

Francesco Guardi View on the Cannaregio Canal, Venice, c. 1775-1780 National Gallery of Art

A man and woman stand in a sunny field near a line of cone-shaped haystacks under a massive blue sky in this horizontal landscape painting. The scene is loosely painted with visible brushstrokes throughout.

Camille Pissarro Landscape, Ile-de-France, 1873 National Gallery of Art

Twilight on the Sound, Darien, Connecticut, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Twilight on the Sound, Darien, Connecticut, 1872 The Met

Fantastic Landscape, Francesco Guardi, ca. 1765, oil on canvas

Francesco Guardi Fantastic Landscape, ca. 1765 The Met

Two girls in acrobatic uniforms stand in an arena, one holds oranges.

Pierre-Auguste Renoir Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg), 1879 Art Institute of Chicago

Painted portrait of woman in green dress and cloud backdrop.

John Singleton Copley Mrs. Daniel Hubbard (Mary Greene), c. 1764 Art Institute of Chicago

Lunch at the Restaurant Fournaise (The Rowers' Lunch), Pierre-Auguste Renoir, 1875, oil on canvas

Pierre-Auguste Renoir Lunch at the Restaurant Fournaise (The Rowers' Lunch), 1875 Art Institute of Chicago

Jeanne Hébuterne, Amedeo Modigliani, 1919, oil on canvas

Amedeo Modigliani Jeanne Hébuterne, 1919 The Met

Madame Cézanne (Hortense Fiquet, 1850–1922) in the Conservatory, Paul Cézanne, 1891, oil on canvas

Paul Cézanne Madame Cézanne (Hortense Fiquet, 1850–1922) in the Conservatory, 1891 The Met

Butter-yellow clouds and water, a periwinkle-blue sky, and pale plum-purple buildings blend in hazy, indistinct bands across this horizontal landscape painting.

Joseph Mallord William Turner Approach to Venice, 1844 National Gallery of Art

Surrounded by lush, bright foliage, man and a young girl at close range lean against a fence near a lake. The man is smoking, and both wear straw hats.

Pierre-Auguste Renoir Near the Lake, 1879–80 Art Institute of Chicago

Shown from the lap up a pale-skinned young girl sits in a grassy landscape in this vertical painting. The girl and surroundings are painted with visible strokes and dashes of mostly vivid greens and blues, which give the scene a soft look.

Camille Pissarro Peasant Girl with a Straw Hat, 1881 National Gallery of Art

In this painting, a pile of cherries is displayed on a grassy ground. The cherries are in different shades of red, orange, and light yellow, set against a dark green background. Some cherries are scattered in the grass around the pile.

William Mason Brown Mound of Cherries, n.d. National Gallery of Art

View of Delphi with a Procession, Claude Lorrain, 1673, oil on canvas

Claude Lorrain View of Delphi with a Procession, 1673 Art Institute of Chicago

La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930), Vincent van Gogh, 1889, oil on canvas

Vincent van Gogh La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, 1851–1930), 1889 The Met

We look slightly down into a lime-green and white rowboat carrying a woman holding a baby and a man in this nearly square painting. The man wears midnight-blue shoes, pants, jacket, and soft, floppy cap.

Mary Cassatt The Boating Party, 1893/1894 National Gallery of Art

Two pale-skinned women sit together surrounded by five sheep and a dog in a lush forest in this vertical painting. The woman to our right sits slightly above the other, with her arm draped around the shoulders of her companion.

François Boucher The Love Letter, 1750 National Gallery of Art

We look across a strip of tall grass and flowers at a river that winds into the distance in this loosely painted, horizontal landscape.

Claude Monet Banks of the Seine, Vétheuil, 1880 National Gallery of Art

At least one rowboat occupied by two people floats on a lake, which is surrounded by lush green vegetation in this vertical landscape painting.

Berthe Morisot Girl in a Boat with Geese, c. 1889 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

Roman Landscape, Arnold Böcklin, ca. 1850–52, oil on canvas, several pieces joined

Arnold Böcklin Roman Landscape, ca. 1850–52 The Met

Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848), Élisabeth Louise Vigée Le Brun, 1789, oil on canvas

Élisabeth Louise Vigée Le Brun Comtesse de la Châtre (Marie Charlotte Louise Perrette Aglaé Bontemps, 1762–1848), 1789 The Met

This is a painting with a central focus on a bison being pursued by a figure on horseback. The scene is set in a grassy prairie under a cloudy sky.

George Catlin Buffalo Chase, 1861/1869 National Gallery of Art

About a dozen women and men, all with pale or suntanned skin, work in a field harvesting grain in this horizontal painting. The women wear long skirts and aprons, and some wear cloths tied around their heads.

Jules Breton The Colza (Harvesting Rapeseed), 1860 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

The Dance Class, Edgar Degas, 1874, oil on canvas

Edgar Degas The Dance Class, 1874 The Met

We hover over the bottle-green surface of a river as it rushes toward a horseshoe-shaped waterfall that curves away from us in this horizontal landscape painting.

Frederic Edwin Church Niagara, 1857 National Gallery of Art

The Peaceable Kingdom, Edward Hicks, c. 1816–18, oil on canvas

Edward Hicks The Peaceable Kingdom, c. 1816–18 Cleveland Museum of Art

From a little above a dirt road, we look past a grove of trees to a broad plain and a lake at the foot of towering, hazy mountains in this horizontal landscape painting.

Albert Bierstadt Lake Lucerne, 1858 National Gallery of Art

A road or path curves away from us, past a tall formation, perhaps rocks, to our left, and into a valley filled with trees and a low hill beyond in this stylized, vertical landscape.

Paul Cézanne The Bend in the Road, 1900/1906 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

Shown from the knees up, a young woman wearing a white gown and bonnet sits in front of a balcony railing on a sunny day, holding a small dog on her lap in this vertical portrait painting.

Mary Cassatt Young Girl at a Window, c. 1883-1884 National Gallery of Art

This painting shows a seated woman from the waist up. Her body faces us, and she looks off to the right with a neutral expression. She has light skin, brown eyes, and rosy cheeks.

George Bellows Maud Murray Dale (Mrs. Chester Dale), 1919 National Gallery of Art

Landscape with Cattle at Limousin, Jules Dupré, 1837, oil on canvas

Jules Dupré Landscape with Cattle at Limousin, 1837 The Met

Adeline Ravoux, Vincent van Gogh, 1890, oil on fabric

Vincent van Gogh Adeline Ravoux, 1890 Cleveland Museum of Art

We look slightly down onto the surface of a river in which three narrow canoes, each paddled by a single person, are being rowed toward us in this horizontal landscape painting.

Gustave Caillebotte Skiffs, 1877 National Gallery of Art

This painting shows a group of people engaged in various activities within a wide green landscape. In the background are distant white-and-blue mountains and a blue sky with soft gray clouds.

Francesco Guardi Erminia and the Shepherds, 1750/1755 National Gallery of Art

Courtyard, Tétouan, Morocco, John Singer Sargent, 1879–80, oil on wood

John Singer Sargent Courtyard, Tétouan, Morocco, 1879–80 The Met

Henri de Toulouse-Lautrec Rue des Moulins, 1894, 1894 National Gallery of Art

The Edge of the Woods at Monts-Girard, Fontainebleau Forest, Théodore Rousseau, 1852–54, oil on wood

Théodore Rousseau The Edge of the Woods at Monts-Girard, Fontainebleau Forest, 1852–54 The Met

The painting depicts a serene village scene near a body of water with trees and thatched structures on the horizon.

George Catlin Painting the Lengua Chief, 1854/1869 National Gallery of Art

The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, Johann Zoffany, c. 1772, oil on canvas

Johann Zoffany The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, c. 1772 Cleveland Museum of Art

Elizabeth, Countess of Effingham, Benjamin West, c. 1797, oil on canvas

Benjamin West Elizabeth, Countess of Effingham, c. 1797 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

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