Paintings for Sand Walls (page 23)

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 1,057 to 1,104 of 1,948.

Shown from the elbows up, a young person with pale skin and brown hair wearing a wide, scarlet-red hat sits in front of a tapestry in this vertical portrait painting.

Johannes Vermeer Girl with the Red Hat, c. 1669 National Gallery of Art

Study of Two Heads, Peter Paul Rubens, ca. 1609, oil on wood

Peter Paul Rubens Study of Two Heads, ca. 1609 The Met

Pansies, Henri Fantin-Latour, 1903, oil on canvas

Henri Fantin-Latour Pansies, 1903 The Met

Close to us, a young man and four boys sit or recline in a small sailboat that tips to our left on a choppy dark green sea fringed with white foam in this horizontal painting.

Winslow Homer The Flirt, 1874 National Gallery of Art

The Forest of Fontainebleau, Narcisse Virgilio Díaz de la Peña, 1874, oil on wood

Narcisse Virgilio Díaz de la Peña The Forest of Fontainebleau, 1874 The Met

Louis-Marie, Vicomte de Noailles, Gilbert Stuart, 1798, oil on canvas

Gilbert Stuart Louis-Marie, Vicomte de Noailles, 1798 The Met

The Garden of the Tuileries on a Spring Morning, Camille Pissarro, 1899, oil on canvas

Camille Pissarro The Garden of the Tuileries on a Spring Morning, 1899 The Met

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

A man stands and a woman sits near a herd of seven cows under a light-drenched sky in this horizontal landscape painting. The herd gathers on a grassy rise just beyond some large boulders and twiggy branches.

Aelbert Cuyp Herdsmen Tending Cattle, 1655/1660 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

Shown from the chest up, a man with pale, yellow-tinged skin is angled to our right with downcast eyes in this vertical portrait painting. He is cleanshaven with chin-length black hair.

Sandro Botticelli Giuliano de' Medici, c. 1478/1480 National Gallery of Art

A woman with pale skin, wearing a shimmering, azure-blue gown, stands next to a child with a pale pink complexion, wearing a flame-red suit in this vertical portrait painting.

Anthony van Dyck Queen Henrietta Maria with Sir Jeffrey Hudson, 1633 National Gallery of Art

Roiling, churning waves breaking against a patch of a sandy beach fill most of this wide, horizontal landscape painting. The water deepens from aquamarine blue to teal, slate, and midnight blue amid clouds of ivory-white crests and spray.

Thomas Moran The Much Resounding Sea, 1884 National Gallery of Art

Breton Brother and Sister, William-Adolphe Bouguereau, 1871, oil on canvas

William-Adolphe Bouguereau Breton Brother and Sister, 1871 The Met

Newport Mountain, Mount Desert, Frederic Edwin Church, 1851, oil on canvas

Frederic Edwin Church Newport Mountain, Mount Desert, 1851 National Gallery of Art

Painted entirely with small dots of pure color mostly in slate and azure blue, olive green, and cream white, this scene shows a sandy beach stretching to a lighthouse at the center and a four-story building to our right in this horizontal…

Georges Seurat The Lighthouse at Honfleur, 1886 National Gallery of Art

Winding Yarn (Interior of a Nantucket Kitchen), Eastman Johnson, 1872, oil on board

Eastman Johnson Winding Yarn (Interior of a Nantucket Kitchen), 1872 Cleveland Museum of Art

Scene on the Mersey, James McNeill Whistler, 1869, watercolor and gouache on white wove paper

James McNeill Whistler Scene on the Mersey, 1869 The Met

Asters and Fruit on a Table, Henri Fantin-Latour, 1868, oil on canvas

Henri Fantin-Latour Asters and Fruit on a Table, 1868 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

Arches in Ruins, Hubert Robert, 1781, oil on canvas

Hubert Robert Arches in Ruins, 1781 The Met

A garden with two fountains stretches back to a manor house in the distance in this horizontal landscape painting. The horizon comes about a third of the way up the composition, and gray clouds tower in the vivid blue sky above.

Jacob van Ruisdael Country House in a Park, c. 1675 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

Robert Rich (1587–1658), Second Earl of Warwick, Anthony van Dyck, ca. 1632–35, oil on canvas

Anthony van Dyck Robert Rich (1587–1658), Second Earl of Warwick, ca. 1632–35 The Met

Porte de la Reine at Aigues-Mortes, Frédéric Bazille, 1867, oil on canvas

Frédéric Bazille Porte de la Reine at Aigues-Mortes, 1867 The Met

Shown from about the knees up, a woman, baby, and two angels crowd together in a narrow interior space pierced by three window openings.

Sandro Botticelli Madonna and Child with Angels, 1465/1470 National Gallery of Art

Two loosely painted people stand side by side in a field as they rake with their backs to us in this horizontal painting. The brushstrokes are soft and textured, and the details are loosely rendered, giving the scene a hazy appearance.

Georges Seurat Haymakers at Montfermeil, c. 1882 National Gallery of Art

We look down onto a pile with a newspaper, theater program, pipe, a black and white checkerboard, and other objects painted as abstracted, geometric forms on a tabletop in this nearly square still life painting.

Juan Gris Fantômas, 1915 National Gallery of Art

Two people, perhaps a woman and man, and a baby sit at a table in a courtyard surrounded by vine-covered walls in this square painting. The scene is loosely painted with visible dabs, dashes, or smudges. The table is to the left of center.

Édouard Vuillard Repast in a Garden, 1898 National Gallery of Art

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

Beggar with a Duffle Coat (Philosopher), Édouard Manet, 1865–67, oil on canvas

Édouard Manet Beggar with a Duffle Coat (Philosopher), 1865–67 Art Institute of Chicago

This painting shows a man depicted from two angles; on the left, he faces us, while on the right, his back is to us. In both views he wears the same clothes and is in the same position.

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

In this painting, a collection of large, ripe peaches sits on a light green plate with a white rim. The peaches are painted in shades of orange, yellow, and red, with some areas of dark red and black.

Pierre-Auguste Renoir Peaches on a Plate, 1902/1905 National Gallery of Art

Two women with pale skin look out at us from the other side of a rectangular window opening with a shadowy interior behind them in this vertical painting.

Bartolomé Esteban Murillo Two Women at a Window, c. 1655/1660 National Gallery of Art

The Holy Family with Saint Mary Magdalen, Andrea Mantegna, ca. 1495–1500, distemper on canvas

Andrea Mantegna The Holy Family with Saint Mary Magdalen, ca. 1495–1500 The Met

George Washington, Charles Willson Peale, ca. 1779–81, oil on canvas

Charles Willson Peale George Washington, ca. 1779–81 The Met

Apples, Paul Cézanne, 1878–79, oil on canvas

Paul Cézanne Apples, 1878–79 The Met

This painting shows a man seated on a decorative red chair, his body turned towards the left and his head turned to look at us. He has a round face, light skin, and gray curly hair that goes down past his shoulders.

John Singleton Copley Baron Graham, 1804 National Gallery of Art

The Adoration of the Shepherds, El Greco, ca. 1612–14, oil on canvas

El Greco The Adoration of the Shepherds, ca. 1612–14 The Met

The Burning of the Houses of Lords and Commons, 16 October 1834, Joseph Mallord William Turner, 1835, oil on canvas

Joseph Mallord William Turner The Burning of the Houses of Lords and Commons, 16 October 1834, 1835 Cleveland Museum of Art

Against a distant, hazy, verdant forest, a petal-pink and amethyst-purple orchid grows from a mossy branch close to us, to our left, while three jewel-toned hummingbirds gather around a nest to our right in this horizontal painting.

Martin Johnson Heade Cattleya Orchid and Three Hummingbirds, 1871 National Gallery of Art

Approaching Storm from the Alban Hills, George Inness, 1871, oil on canvas

George Inness Approaching Storm from the Alban Hills, 1871 Cleveland Museum of Art

A young boy with pale skin and short brown hair, wearing a black and gold jerkin and breeches, white lace collar, and buttercup-yellow stockings, stands facing us with a dog at his heels in this vertical portrait painting.

Anthony van Dyck Filippo Cattaneo, 1623 National Gallery of Art

Man in a Turban, Rembrandt van Rijn, 1632, oil on canvas

Rembrandt van Rijn Man in a Turban, 1632 The Met

We look across a grassy expanse leading to a lake, with several women, tiny in scale, dancing under a grove of trees to our right in this horizontal landscape painting.

Camille Corot Dance under the Trees at the Edge of the Lake, 1865/1870 National Gallery of Art

Close to us, a young man and three boys sit or recline in a small sailboat that tips to our left on a choppy dark green sea in this horizontal painting.

Winslow Homer Breezing Up (A Fair Wind), 1873-1876 National Gallery of Art

Mademoiselle V. . . in the Costume of an Espada, Édouard Manet, 1862, oil on canvas

Édouard Manet Mademoiselle V. . . in the Costume of an Espada, 1862 The Met

Green hills roll back to a turquoise-blue sea in this almost square painting. The scene is built with layers of small dots in lavender, lilac, cool blue, warm green, yellow, and peach.

Georges Seurat Seascape at Port-en-Bessin, Normandy, 1888 National Gallery of Art

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