Paintings for Powder Blue Walls (page 17)

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. Showing 769 to 816 of 1,950.

Antoine Dominique Sauveur Aubert (born 1817), the Artist's Uncle, Paul Cézanne, 1866, oil on canvas

Paul Cézanne Antoine Dominique Sauveur Aubert (born 1817), the Artist's Uncle, 1866 The Met

Shown from about the knees up, an older, bearded, pale-skinned man sits at a desk with his head in one hand in a shadowy room in this vertical painting. His body is angled to our right, and he sits in a heavy wooden armchair next to a desk.

Rembrandt van Rijn The Apostle Paul, c. 1657 National Gallery of Art

Shown from the knees up, a pale-skinned woman looking off to the left from her seat on a divan wears a carnation-pink gown and a fur-lined cloak in this vertical portrait painting.

John Singleton Copley Abigail Smith Babcock (Mrs. Adam Babcock), c. 1774 National Gallery of Art

This oval painting shows a cherubic figure floating in mid-air with one leg bent and arms outstretched. The cherub has curly hair, a round face, and rosy cheeks, and they are smiling gently.

Jean-Honoré Fragonard Love as Folly, c. 1773/1776 National Gallery of Art

Painted portrait of a seated young light-skinned girl with brown hair in a gauzy white dress and hat, eyes downcast, holding a basket.

Berthe Morisot Young Girl with Hat, 1892 Art Institute of Chicago

Shown from the knees up, a pale-skinned woman wears a wide, pleated collar and a black gown in this vertical portrait painting. Her body is angled to our left, and she looks at us from the corners of her light brown eyes.

Anthony van Dyck Portrait of a Flemish Lady, probably 1618 National Gallery of Art

A broken white and gray birch tree trunk has fallen across a rocky, shallow waterfall at the edge of a dense, deeply shadowed forest in this horizontal landscape painting.

Jacob van Ruisdael Forest Scene, c. 1655 National Gallery of Art

Piping Shepherds, Aelbert Cuyp, ca. 1643–44, oil on canvas

Aelbert Cuyp Piping Shepherds, ca. 1643–44 The Met

We look across a waterlogged path at a line of rust-red and bronze-brown trees that nearly span the width of this horizontal landscape painting. The scene is loosely painted, which creates a blurred look.

Théodore Rousseau After the Rain, c. 1850 National Gallery of Art

Portrait of Colonel Charles Heathcote, Joseph Wright of Derby, c. 1771–72, oil on canvas

Joseph Wright of Derby Portrait of Colonel Charles Heathcote, c. 1771–72 Cleveland Museum of Art

Mrs. Robert Blencowe, Thomas Lawrence, c. 1792, oil on canvas

Thomas Lawrence Mrs. Robert Blencowe, c. 1792 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

Ecce Agnus Dei, Bartolomé Esteban Murillo, c. 1655, oil on canvas

Bartolomé Esteban Murillo Ecce Agnus Dei, c. 1655 Art Institute of Chicago

General Étienne-Maurice Gérard (1773–1852), Jacques-Louis David, 1816, oil on canvas

Jacques-Louis David General Étienne-Maurice Gérard (1773–1852), 1816 The Met

A band of indigenous Americans ride horses toward and through a herd of buffalo, which spreads along a river that winds through plains to mountains in the deep distance in this horizontal landscape painting.

Albert Bierstadt The Last of the Buffalo, 1888-1889 National Gallery of Art

Tall grasses lead back to a body of water and then perhaps a town in this loosely painted, horizontal landscape.

Pierre-Auguste Renoir Landscape at Vétheuil, c. 1890 National Gallery of Art

The image is a portrait showing the upper body of a woman seated next to a wooden table. She is positioned facing slightly to the right, with her arm resting on the table and holding a small pink rose in her left hand.

Charles Peale Polk Hannah Lemmon Corcoran (Mrs. Thomas Corcoran), c. 1802/1810 National Gallery of Art

After the Bullfight, Mary Cassatt, 1873, oil on canvas

Mary Cassatt After the Bullfight, 1873 Art Institute of Chicago

Through a golden haze and across an expanse of gently rippling water dotted with boats, ghostly ivory and parchment-white buildings rise along a distant shore in this loosely painted horizontal landscape.

Joseph Mallord William Turner The Dogana and Santa Maria della Salute, Venice, 1843 National Gallery of Art

The Thinker: Portrait of Louis N. Kenton, Thomas Eakins, 1900, oil on canvas

Thomas Eakins The Thinker: Portrait of Louis N. Kenton, 1900 The Met

Haystacks: Autumn, Jean-François Millet, ca. 1874, oil on canvas

Jean-François Millet Haystacks: Autumn, ca. 1874 The Met

Three people gather around the doorway of a small cottage set in a sun-warmed yard in this almost square painting.

George Caleb Bingham Cottage Scenery, 1845 National Gallery of Art

Golden sunlight pours across a landscape with three people on horseback and two more people near a flock of sheep, a cow, and a mule in this horizontal painting. The people all have pale, peachy skin.

Aelbert Cuyp Horsemen and Herdsmen with Cattle, 1655/1660 National Gallery of Art

Shown from the knees up, a cleanshaven, young man with pale, peachy skin leans on his right elbow, to our left, against a ledge and holds a black top hat in that hand in this vertical portrait painting.

Francisco de Goya Bartolomé Sureda y Miserol, c. 1803/1804 National Gallery of Art

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 Glorification of the Barbaro Family, Giovanni Battista Tiepolo, ca. 1750, oil on canvas

Giovanni Battista Tiepolo The Glorification of the Barbaro Family, ca. 1750 The Met

The image shows a man in a portrait from the waist up. He has fair skin, curly light-colored hair, and wears a dark navy coat with gold buttons and a vibrant red collar.

Thomas Gainsborough William Yelverton Davenport, c. 1785/1788 National Gallery of Art

A pale-skinned woman is shown from the waist up within an oval opening in this vertical portrait painting. The woman’s body is angled to our right, but she turns her face to look off to our left with gray eyes.

Thomas Gainsborough Mrs. John Taylor, c. 1778 National Gallery of Art

The Mower, Georges Seurat, 1881–82, oil on wood

Georges Seurat The Mower, 1881–82 The Met

Close to us, a woman and a winged, child-like putto float on clouds above a clean-shaven young man in a forest setting in this horizontal painting. All three people have smooth, pale skin, rosy cheeks, and ash-blond hair.

Jean-Honoré Fragonard Diana and Endymion, c. 1753/1756 National Gallery of Art

Valley of the Sédelle at Pont Charraud: White Frost, Armand Guillaumin, c.1903–1911, oil on fabric

Armand Guillaumin Valley of the Sédelle at Pont Charraud: White Frost, c.1903–1911 Cleveland Museum of Art

Janet Law, Henry Raeburn, 1800, oil on canvas

Henry Raeburn Janet Law, 1800 The Met

Two men with pale skin, wearing white sleeveless shirts and royal-blue caps, row in unison in a long, narrow boat on a placid blue river in this horizontal landscape painting.

Thomas Eakins The Biglin Brothers Racing, 1872 National Gallery of Art

Painting of two fishermen in small wooden boat on rocky seas.

Winslow Homer The Herring Net, 1885 Art Institute of Chicago

Head of a Young Woman, Jean-Baptiste Greuze, possibly 1780s, oil on canvas

Jean-Baptiste Greuze Head of a Young Woman, possibly 1780s The Met

Fish Market, Joachim Beuckelaer, 1568, oil on Baltic oak

Joachim Beuckelaer Fish Market, 1568 The Met

The Adoration of the Magi, Hieronymus Bosch, ca. 1475, oil and gold on oak

Hieronymus Bosch The Adoration of the Magi, ca. 1475 The Met

In this painting, thick, overlapping strokes of paint create the blurred image of people standing and sitting on grass. In the center, two people in pink and dark purple appear to sit on the green ground, facing the left.

Georges Seurat Study of Figures for "La Grande Jatte", 1884/1885 National Gallery of Art

The image shows a winter scene with an icy river and activity on the shore. A rocky cliff partially covered in snow is on the right, with evergreen trees.

George Catlin The Expedition Encamped below the Falls of Niagara. January 20, 1679, 1847/1848 National Gallery of Art

Captain John Gell, Gilbert Stuart, 1785, oil on canvas

Gilbert Stuart Captain John Gell, 1785 The Met

Two Young Girls at the Piano, Pierre-Auguste Renoir, 1892, oil on canvas

Pierre-Auguste Renoir Two Young Girls at the Piano, 1892 The Met

This painting shows several people in the sky, surrounded by billowing fabric. In the center is a person who appears to be sitting on a cloud-like form. The person is on their back with their legs towards us and their head tilted up.

Giovanni Battista Tiepolo Saint Roch Carried to Heaven by Angels, c. 1735/1745 National Gallery of Art

In a space almost entirely shrouded in shadow, light falls across a bearded man kneeling in front of a woman cradling an infant, as about a dozen people to our left look on in this horizontal painting.

Rembrandt van Rijn The Circumcision, 1661 National Gallery of Art

Portrait of Charlotte and Sarah Carteret-Hardy, Thomas Lawrence, 1801, oil on canvas

Thomas Lawrence Portrait of Charlotte and Sarah Carteret-Hardy, 1801 Cleveland Museum of Art

Manuel Osorio Manrique de Zuñiga (1784–1792), Francisco de Goya, 1787–88, oil on canvas

Francisco de Goya Manuel Osorio Manrique de Zuñiga (1784–1792), 1787–88 The Met

Portrait of a Young Woman, Jean-Honoré Fragonard, 1770s, oil on canvas

Jean-Honoré Fragonard Portrait of a Young Woman, 1770s The Met

Heart of the Andes, Frederic Edwin Church, 1859, oil on canvas

Frederic Edwin Church Heart of the Andes, 1859 The Met

Light pours over a woman floating in front of a bank of clouds, surrounded by ten mostly nude, toddler-like winged putti in this vertical painting. The woman, Mary, and the putti all have pale, peachy skin.

Anthony van Dyck The Virgin as Intercessor, 1628/1629 National Gallery of Art

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