Paintings for Powder Blue Walls (page 4)

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. Showing 145 to 192 of 1,950.

Fur Traders Descending the Missouri, George Caleb Bingham, 1845, oil on canvas

George Caleb Bingham Fur Traders Descending the Missouri, 1845 The Met

The Old Italian Woman, Edgar Degas, 1857, oil on canvas

Edgar Degas The Old Italian Woman, 1857 The Met

Evening: Landscape with an Aqueduct, Théodore Géricault, 1818, oil on canvas

Théodore Géricault Evening: Landscape with an Aqueduct, 1818 The Met

This painting shows a seaside view with a low horizon. A sandy beach is on the left, with ships and sailboats sailing on the water in the distance on the right.

John Constable Yarmouth Jetty, 1822 National Gallery of Art

Sketch for View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), Thomas Cole, 1836, oil and pencil on composition board

Thomas Cole Sketch for View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (The Oxbow), 1836 The Met

Roses and Lilies, Henri Fantin-Latour, 1888, oil on canvas

Henri Fantin-Latour Roses and Lilies, 1888 The Met

More than a dozen light-skinned men, women, and children eat, drink, talk, and make music around a dancing couple under an arbor in this horizontal painting. Most of the people are dressed in muted tones of green, gray, and black.

Jan Steen The Dancing Couple, 1663 National Gallery of Art

Vibrantly colored mythical scene depicting people, animals, and dragons in front of mountains.

Tibet Milarepa on Mount Kailash, c. 1500 Art Institute of Chicago

Autumn, a Wood Path, Sanford Robinson Gifford, 1876, oil on canvas

Sanford Robinson Gifford Autumn, a Wood Path, 1876 Cleveland Museum of Art

St. George on white horse, piercing green, gold dragon

Bernat Martorell Saint George and the Dragon, 1434–35 Art Institute of Chicago

The Coronation of the Virgin, Niccolò di Buonaccorso, ca. 1380, tempera on wood, gold ground

Niccolò di Buonaccorso The Coronation of the Virgin, ca. 1380 The Met

The Drinkers, Honoré Daumier, by 1861, oil on wood

Honoré Daumier The Drinkers, by 1861 The Met

Dominated by tones of red and fire orange, this nearly square painting shows a seated woman leaning forward in a high-backed chair, holding a round, flat, leaf-shaped fan.

Edgar Degas Madame Camus, 1869/1870 National Gallery of Art

A young boy with pale skin, wearing a burgundy-red suit and floppy hat, stands facing and looking at us with a gray terrier dog at his side in this vertical portrait painting.

Mary Cassatt Eddy Cassatt (Edward Buchanan Cassatt), 1875 National Gallery of Art

Thistles, John Singer Sargent, 1883–89, oil on canvas

John Singer Sargent Thistles, 1883–89 Art Institute of Chicago

A woman, Mary, floats in the sky surrounded by eleven winged angels above fifteen men and women gathered around an open, stone coffin in this vertical painting. All the people have pale, peachy skin.

Peter Paul Rubens The Assumption of the Virgin, probably mid 1620s National Gallery of Art

Shown from the chest up, a young, pale-skinned woman faces and looks out at us with a slight smile on her lips in this vertical portrait painting.

Henri Fantin-Latour Mademoiselle de Fitz-James, 1867 National Gallery of Art

Marie Emilie Coignet de Courson (1716–1806) with a Dog, Jean-Honoré Fragonard, ca. 1769, oil on canvas

Jean-Honoré Fragonard Marie Emilie Coignet de Courson (1716–1806) with a Dog, ca. 1769 The Met

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

Thomas Cole New England Scenery, 1839 Art Institute of Chicago

Seven roses in full bloom are clustered in a wide bouquet set against a dark brown background in this horizontal still life painting. The blossom to our left is peach, and a bud dips down in front of that flower.

Henri Fantin-Latour _Roses de Nice_ on a Table, 1882 National Gallery of Art

Symbolic Head, Odilon Redon, c. 1890, oil on paper mounted on canvas

Odilon Redon Symbolic Head, c. 1890 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

Tivoli, Sanford Robinson Gifford, 1870, oil on canvas

Sanford Robinson Gifford Tivoli, 1870 The Met

Henri Fantin-Latour Duchess de Fitz-James, 1867 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

Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun, Francisco de Goya, c. 1806, oil on panel

Francisco de Goya Friar Pedro Offers Shoes to El Maragato and Prepares to Push Aside His Gun, c. 1806 Art Institute of Chicago

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

Jasper Francis Cropsey Hackensack Meadows, 1890 The Met

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

The image shows a still life of round fruits, such as grapes and peaches, placed on a white plate. The color scheme consists of warm browns, muted greens, and deep reds. The fruits have a natural sheen.

Henri Fantin-Latour Still Life with Peaches and Grapes, 1896 National Gallery of Art

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

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

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

The Love Letter, Jean-Honoré Fragonard, early 1770s, oil on canvas

Jean-Honoré Fragonard The Love Letter, early 1770s The Met

Pillars of the Country, Yao Shou, Ming dynasty (1368–1644), 1494, handscroll; ink and color on paper

Yao Shou Pillars of the Country, Ming dynasty (1368–1644), 1494 Art Institute of Chicago

Portrait of a Carthusian, Petrus Christus, 1446, oil on oak

Petrus Christus Portrait of a Carthusian, 1446 The Met

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

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 the knees up, a pale-skinned woman stands close to us with a red schoolhouse in the distance under a sunset sky in this vertical painting.

Winslow Homer The Red School House, 1873 National Gallery of Art

Mrs. Richard Alexander Oswald (Louisa Johnston, ?born about 1760, died 1797), Henry Raeburn, ca. 1794, oil on canvas

Henry Raeburn Mrs. Richard Alexander Oswald (Louisa Johnston, ?born about 1760, died 1797), ca. 1794 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

Virgin and Child, Hans Memling, ca. 1490–94, oil on wood

Hans Memling Virgin and Child, ca. 1490–94 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

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

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

View of Schroon Mountain, Essex County, New York, After a Storm, Thomas Cole, 1838, oil on canvas

Thomas Cole View of Schroon Mountain, Essex County, New York, After a Storm, 1838 Cleveland Museum of Art

From far below, we look up at an older man with standing on a cliff edge or rocky ledge with his arms raised as he turns his head to gaze up to a second man and winged, child-like angels surrounded by clouds in the sky above in this square…

Titian Saint John the Evangelist on Patmos, c. 1553/1555 National Gallery of Art

Vase of Flowers (Pink Background), Odilon Redon, ca. 1906, oil on canvas

Odilon Redon Vase of Flowers (Pink Background), ca. 1906 The Met

A sinewy older man, his pale skin mostly exposed, sits on a stone low to the ground facing a table on our right in the center of this vertical painting. His gray hair is cropped short, and he has a graying, long beard.

Paolo Veronese Saint Jerome in the Wilderness, c. 1575/1585 National Gallery of Art

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