Paintings for Pure White Walls (page 18)

Soft and muted

Gentle, low-color paintings that keep a pale room calm. The most vivid come first, because strong color pops on gallery white. Showing 817 to 864 of 1,315.

The painting depicts a seascape. The horizon is visible in the bottom third of the composition, with several ships floating on the water, including a large sailing ship to the left of center.

Eugène Boudin Coast of Brittany, 1870 National Gallery of Art

Lachrymae, Frederic Leighton, 1894–95, oil on canvas

Frederic Leighton Lachrymae, 1894–95 The Met

An armored man on horseback hands a piece of emerald-green cloth down to the nearly nude man standing next to him in this slightly stylized, vertical painting.

El Greco Saint Martin and the Beggar, 1597/1599 National Gallery of Art

Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress, Paul Cézanne, 1888–90, oil on canvas

Paul Cézanne Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress, 1888–90 The Met

Landscape painting featuring a wavy tree tree in the foreground and a watermill with a red roof adjacent to a river at right. Colors are subdued earth tones, the foliage a dark green and the river a muddy brown.

Meindert Hobbema The Watermill with the Great Red Roof, c. 1665 Art Institute of Chicago

Portrait of Catherine Grey, Lady Manners, Thomas Lawrence, 1794, oil on canvas

Thomas Lawrence Portrait of Catherine Grey, Lady Manners, 1794 Cleveland Museum of Art

Portrait of a Woman, Possibly a Nun of San Secondo; (verso) Scene in Grisaille, Jacometto, ca. 1485–95, oil on wood; (verso: oil and gold on wood)

Jacometto Portrait of a Woman, Possibly a Nun of San Secondo; (verso) Scene in Grisaille, ca. 1485–95 The Met

We look across a river at a long, flat bridge that runs parallel to a hazy, city skyline in the distance in this horizontal painting.

Camille Pissarro Charing Cross Bridge, London, 1890 National Gallery of Art

From Ávila, John Singer Sargent, ca. 1903, watercolor and gouache on white wove paper

John Singer Sargent From Ávila, ca. 1903 The Met

The painting depicts a rural scene with a wide, cloudy blue sky over a riverbank. On the right there are tall, dark green trees that stretch up to the top of the painting.

Camille Corot River View, 1868/1872 National Gallery of Art

An older woman wearing a long black dress sits reading a book in front of a younger woman wearing cream white, who sits on a couch just beyond, in this vertical portrait painting.

Berthe Morisot The Mother and Sister of the Artist, 1869/1870 National Gallery of Art

Saint Martin and the Beggar, El Greco, c. 1597–c. 1600, oil on canvas

El Greco Saint Martin and the Beggar, c. 1597–c. 1600 Art Institute of Chicago

A pale-skinned boy with round, almost doll-like proportions sits on pointed rocks in front of a pale blue sky in this slightly stylized, vertical painting. The boy’s body and face are square to us.

Henri Rousseau Boy on the Rocks, 1895/1897 National Gallery of Art

A bearded man with light skin, wearing a black costume and holding a plumed hat, stands in front of mottled brown background in this vertical portrait painting.

Édouard Manet The Tragic Actor (Rouvière as Hamlet), 1866 National Gallery of Art

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 seascape painted in pastel tones, light-colored houses with red chimneys and light-green shutters in the foreground. The scene is set on a rocky, green hillside overlooking a blue sea with small sailboats.

Childe Hassam New England Headlands, 1899 Art Institute of Chicago

Elie Williams, Charles Willson Peale, 1789, oil on canvas

Charles Willson Peale Elie Williams, 1789 The Met

Autumn: The Woodland Pond, Narcisse Virgilio Díaz de la Peña, 1867, oil on canvas

Narcisse Virgilio Díaz de la Peña Autumn: The Woodland Pond, 1867 The Met

Ruined Archway, Francesco Guardi, 1775–93, oil on canvas

Francesco Guardi Ruined Archway, 1775–93 Art Institute of Chicago

Three men and a woman sit around a wooden table on the right side of a dimly lit room in this horizontal painting. The scene is painted entirely in warm shades of bronze, golden yellow, and dark brown.

Rembrandt van Rijn Philemon and Baucis, 1658 National Gallery of Art

A young man with smooth, pale peachy skin and long blond hair looks over his right shoulder at us in this vertical portrait painting. He has light green eyes, a straight nose, full pink lips, and a narrow chin.

Raphael Bindo Altoviti, c. 1515 National Gallery of Art

Painting composed of short, dense brushstrokes depicts two domed stacks of wheat that cast long shadows on a field. The angled light indicates either a rising or setting sun.

Claude Monet Stacks of Wheat (End of Summer), 1890–91 Art Institute of Chicago

Branch Hill Pond, Hampstead, John Constable, 1828, oil on canvas

John Constable Branch Hill Pond, Hampstead, 1828 Cleveland Museum of Art

Lady Rich (Elizabeth Jenks, died 1558), Hans Holbein the Younger, ca. 1540, oil and gold on oak

Hans Holbein the Younger Lady Rich (Elizabeth Jenks, died 1558), ca. 1540 The Met

Marguerite-Thérèse (Margot) Berard (1874–1956), Pierre-Auguste Renoir, 1879, oil on canvas

Pierre-Auguste Renoir Marguerite-Thérèse (Margot) Berard (1874–1956), 1879 The Met

We look out onto a landscape with low, grassy hills to the left, a lake to the right, and a brick building in the center distance below a sky filled with towering white clouds in this horizontal painting.

John Constable Wivenhoe Park, Essex, 1816 National Gallery of Art

Two bottles, a carafe, drinking glass, plate, knife, and loaf of bread are arranged on a table covered with a white cloth in this horizontal still-life painting. The narrow table angles from the lower left toward the wall to our right.

Claude Monet Still Life with Bottle, Carafe, Bread, and Wine, c. 1862/1863 National Gallery of Art

Four women and two children, all with pale skin, carry baskets as they walk along a beach under a brilliant blue sky in this horizontal painting. The scene is painted with visible dabs and blended strokes.

John Singer Sargent En route pour la pêche (Setting Out to Fish), 1878 National Gallery of Art

Mary Cassatt Girl Arranging Her Hair, 1886 National Gallery of Art

Henry Rice, Gilbert Stuart, ca. 1815, oil on wood

Gilbert Stuart Henry Rice, ca. 1815 The Met

The Pont Neuf, Johan Barthold Jongkind, 1849–50, oil on canvas

Johan Barthold Jongkind The Pont Neuf, 1849–50 The Met

An elegantly dressed man and woman ride horses toward us and to our right in a landscape with low, rolling hills, stone buildings, and trees in this horizontal painting. The two horses and riders take up the right half of the composition.

Aelbert Cuyp Lady and Gentleman on Horseback, c. 1655, reworked 1660/1665 National Gallery of Art

Allegorical Figure Representing Fortitude, Giovanni Battista Tiepolo, 1760, fresco, transferred to canvas

Giovanni Battista Tiepolo Allegorical Figure Representing Fortitude, 1760 The Met

Our Lady of Valvanera, Unknown artist, ca. 1770–80, oil and gold on canvas

Unknown artist Our Lady of Valvanera, ca. 1770–80 The Met

The painting contains two full-body depictions of a man with dark skin in different postures and clothing, placed next to each other against a dark background. On the left, the man stands upright, holding a cane.

Eugène Delacroix Two Studies of an Indian from Calcutta, Seated and Standing, c. 1823/1824 National Gallery of Art

The White Tablecloth, Jean-Baptiste-Siméon Chardin, c. 1731–32, oil on canvas

Jean-Baptiste-Siméon Chardin The White Tablecloth, c. 1731–32 Art Institute of Chicago

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

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

Peonies, Édouard Manet, 1864–65, oil on canvas

Édouard Manet Peonies, 1864–65 The Met

Clouds hunker over a water-logged street that separates us from the end of a row of buildings in this horizontal painting. The scene is loosely painted, especially in the sky and water.

Alfred Sisley Flood at Port-Marly, 1872 National Gallery of Art

Self-Portrait, Anthony van Dyck, ca. 1620–21, oil on canvas

Anthony van Dyck Self-Portrait, ca. 1620–21 The Met

View of the Seine, Georges Seurat, 1882–83, oil on wood

Georges Seurat View of the Seine, 1882–83 The Met

A young woman sitting with a nude infant lying in her lap is flanked on either side by an older woman to our left and an elderly man with a nude young boy to our right in this vertical painting. They all have pale skin tinged with blue.

El Greco The Holy Family with Saint Anne and the Infant John the Baptist, c. 1595/1600 National Gallery of Art

Beyond a dense screen of stylized, dark brown tree trunks, bending branches, and sage and moss-green leaves, a man and woman ride side-by-side on horseback and embrace in this vertical landscape painting. Both people have pale skin.

Henri Rousseau Rendezvous in the Forest, 1889 National Gallery of Art

Landscape with a Village in the Distance, Jacob van Ruisdael, 1646, oil on wood

Jacob van Ruisdael Landscape with a Village in the Distance, 1646 The Met

Don Andrés de Andrade y la Cal, Bartolomé Esteban Murillo, ca. 1665–72, oil on canvas

Bartolomé Esteban Murillo Don Andrés de Andrade y la Cal, ca. 1665–72 The Met

This painting is a portrait of a child seen from the waist up. The child is seated, with their body turned to the left but their head facing us.

Robert Henri Catharine, 1913 National Gallery of Art

Early Morning, Tarpon Springs, George Inness, 1892, oil on canvas

George Inness Early Morning, Tarpon Springs, 1892 Art Institute of Chicago

A scene in brown and green tones of people dancing indoors. In the foreground, three women stand near boothed tables while a man sits.

Henri de Toulouse-Lautrec Moulin de la Galette, 1889 Art Institute of Chicago

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