Paintings for Plum 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 125 of 125.

Towering, pale, celery-green trees frame a view of a lush park with about a dozen elegantly dressed, light-skinned men and women in this vertical landscape painting.

Jean-Honoré Fragonard A Game of Hot Cockles, c. 1775/1780 National Gallery of Art

The painting depicts an elevated viewpoint of a grand waterfall surrounded by a landscape filled with people and canoes. The horizon is high in the composition, marked by a line of trees and the flowing waterfall.

George Catlin Portage Around the Falls of Niagara at Table Rock, 1847/1848 National Gallery of Art

Mottled, geometric shapes painted in shades of peanut brown, beige, grass and spruce green, smoky gray, golden and buttercup yellow, and topaz and lapis blue are arranged across this wide, horizontal, abstract painting.

Roger de La Fresnaye The Watering Can (Emblems: The Garden), 1913 National Gallery of Art

This painting depicts a vast countryside from an elevated point of view. At the bottom of the painting is a wide brown and green field that appears to be growing wheat or a similar crop.

George Inness Harvest Scene in the Delaware Valley, 1867 National Gallery of Art

In the Waves (Dans les Vagues), Paul Gauguin, 1889, oil on canvas

Paul Gauguin In the Waves (Dans les Vagues), 1889 Cleveland Museum of Art

Sailboats line a grassy riverbank in this loosely painted horizontal landscape. Vivid blue water stretches before us to meet a verdant bank along the left third of the horizon, which comes less than halfway up the composition.

Pierre-Auguste Renoir Regatta at Argenteuil, 1874 National Gallery of Art

The Island of San Michele, Venice, Francesco Guardi, 1770s, oil on canvas

Francesco Guardi The Island of San Michele, Venice, 1770s The Met

The image shows a landscape with trees, hills, and mountains under a partly cloudy sky. In the foreground, there is a tipi surrounded by figures dressed in traditional attire interacting with a horse.

George Catlin The Cheyenne Brothers Starting on Their Fall Hunt, 1861/1869 National Gallery of Art

We look across a shaded field of snow, through a screen of loosely spaced trees at a cobalt-blue mountain that dominates this square landscape painting. The scene is painted with visible brushstrokes throughout.

Abbott Handerson Thayer Mount Monadnock, probably 1911/1914 National Gallery of Art

Sun pours across a landscape with trees and plants growing around and on an arched stone ruin, a bridge and river, and, in the distance, buildings along a flat-topped hill carpeted with grass in this vertical painting.

Canaletto English Landscape Capriccio with a Palace, c. 1754 National Gallery of Art

Small painting of woman in pink and black sitting on park bench.

William Merritt Chase A City Park, c. 1887 Art Institute of Chicago

Corn Fields, Félix Vallotton, 1900, oil on board

Félix Vallotton Corn Fields, 1900 Cleveland Museum of Art

This painting depicts a sunlit forest with densely packed trees. Sunlight filters through the leaves, casting a warm glow and illuminating shades of green with hints of yellow and gold.

Henry Ward Ranger Spring Woods, c. 1910 National Gallery of Art

The image shows a riverside scene with various activities. The horizon has green hills with trees. Villagers and tipis are on both sides of the riverbanks. Canoes filled with people are on the water, some docked near the sandy shore.

George Catlin La Salle and Party Arrive at the Village of the Illinois. January 1, 1680, 1847/1848 National Gallery of Art

The painting shows a bright-green landscape with rolling hills in the distance.

Julian Alden Weir Obweebetuck, c. 1908 National Gallery of Art

This painting shows a man in a yellow jacket standing on a small brown rowboat on a wide, pale green river. Behind him is a large mint-green sailboat, its tall mast bare, the sails folded on the deck.

Childe Hassam Oyster Sloop, Cos Cob, 1902 National Gallery of Art

Painting of a crowd of well-dressed light-skinned people in an open, snowy field surrounded by large rolling hills.

George Bellows Love of Winter, 1914 Art Institute of Chicago

A bearded man with a coppery-peach completion, wearing a dark, navy-blue brimmed cap, vest, jacket, and pants sits on a wooden bench or chair against a green background in this vertical portrait.

Paul Cézanne The Gardener Vallier, 1906 National Gallery of Art

A woman sits among loosely painted, crescent-shape blades of emerald and lemon-lime green grass, under tall trees in this vertical scene. The brushstrokes are unconnected and visible, so many of the details difficult to make out.

Claude Monet Woman Seated under the Willows, 1880 National Gallery of Art

This painting is a portrait of a seated woman shown from the knees upwards. She is seated in a woven yellow armchair, with her right arm resting on one arm of the chair, while her left hand rests on her lap.

George Bellows Florence Sittenham Davey (Mrs. Randall Davey), 1914 National Gallery of Art

Tilla Durieux (Ottilie Godeffroy, 1880–1971), Pierre-Auguste Renoir, 1914, oil on canvas

Pierre-Auguste Renoir Tilla Durieux (Ottilie Godeffroy, 1880–1971), 1914 The Met

The painting depicts a rocky coastline dotted with color. The horizon is high in the scene, and a strip of pale-yellow sky is visible at the very top of the painting.

Henry Golden Dearth Flecks of Foam, c. 1911/1912 National Gallery of Art

Sea and Cliffs, Pierre-Auguste Renoir, ca. 1885, oil on canvas

Pierre-Auguste Renoir Sea and Cliffs, ca. 1885 The Met

Across the Campagna, George Inness, 1872, watercolor, gouache, and graphite on off-white wove paper

George Inness Across the Campagna, 1872 The Met

This painting depicts a view from an elevated position. The horizon is in the center of the painting, where the blue sky meets distant green hills.

Julian Alden Weir U.S. Thread Company Mills, Willimantic, Connecticut, c. 1893/1897 National Gallery of Art

A bank of flowering bushes, possibly roses, fills most of an enclosed garden in front of a white house in this horizontal landscape painting.

Claude Monet The Artist's Garden in Argenteuil (A Corner of the Garden with Dahlias), 1873 National Gallery of Art

Twigs of a magnolia tree with light green, glossy leaves and three cream-white blossoms lie on a sapphire-blue cloth in this horizontal still life painting.

Martin Johnson Heade Giant Magnolias on a Blue Velvet Cloth, c. 1890 National Gallery of Art

Painting composed of short, broad, linear brushstrokes suggesting green-leaved forest trees with light trunks on pale green grass.

Berthe Morisot Forêt de Compiègne, 1885 Art Institute of Chicago

This painting is an abstract composition of irregular shapes and vibrant colors. The different sections overlap and intersect in shades of green, blue, red, purple, and pink.

Alexej von Jawlensky Red Path, St. Prex, 1915 National Gallery of Art

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