Paintings for Taupe Walls

A grounded mid-neutral for traditional rooms.

Taupe #B5A48F

Warm earth palettes echo; teal and dusty blue contrast.

Echoes your wall 2,035
Contrasts with your wall 67
Neutral with your wall 272

Group Pilgrimage to the Jizo Nun, Ike Taiga 24 × 36 in landscape print (61 × 91 cm), centered 55¼ in from the floor, 8 in above the sofa. Drawn to scale on a 12 × 8 ft wall.

Wall color

Default greige

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 to 48 of 2,035.

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

Both dressed in white, a little boy leans onto the lap of a woman sitting in front of a smooth, sunlit boulder with a landscape to the right in this vertical portrait painting. Both people have pale skin with rosy cheeks.

Thomas Lawrence Lady Mary Templetown and Her Eldest Son, 1802 National Gallery of Art

Shoes, Vincent van Gogh, 1888, oil on canvas

Vincent van Gogh Shoes, 1888 The Met

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

Hummingbird and Apple Blossoms, Martin Johnson Heade, 1875, oil on canvas

Martin Johnson Heade Hummingbird and Apple Blossoms, 1875 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

Portrait of Dr. William McNeill Whistler, James McNeill Whistler, 1871–73, oil on panel

James McNeill Whistler Portrait of Dr. William McNeill Whistler, 1871–73 Art Institute of Chicago

Wild Boars in the Snow, Rosa Bonheur, c. 1872–77, oil on wood panel

Rosa Bonheur Wild Boars in the Snow, c. 1872–77 Cleveland Museum of Art

Boy Fishing, Eastman Johnson, 1860s, oil on canvas

Eastman Johnson Boy Fishing, 1860s Cleveland Museum 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

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

Henri Fantin-Latour Roses and Lilies, 1888 The Met

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

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 waist up, a smiling, light-skinned young man wears a voluminous, dark hat and a brown suit in this vertical portrait painting.

Frans Hals A Young Man in a Large Hat, 1626/1629 National Gallery of Art

Lion, Unknown artist, after 1200, fresco, mounted on canvas

Unknown artist Lion, after 1200 The Met

Long scroll ink painting depicting people with their animals and belongings crossing a river.

Unknown artist Yang Pu Moving His Family, Yuan dynasty (1279–1368) 元朝 Art Institute of Chicago

Boy with Pitcher (La Régalade), Édouard Manet, 1862–72, oil on canvas

Édouard Manet Boy with Pitcher (La Régalade), 1862–72 Art Institute of Chicago

The Power of Music, William Sidney Mount, 1847, oil on canvas

William Sidney Mount The Power of Music, 1847 Cleveland Museum of Art

Pontifical Ceremony in Saints Giovanni e Paolo, Venice, 1782, Francesco Guardi, c. 1783, oil on canvas

Francesco Guardi Pontifical Ceremony in Saints Giovanni e Paolo, Venice, 1782, c. 1783 Cleveland Museum of Art

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

Jasper Francis Cropsey Hackensack Meadows, 1890 The Met

In a beige room, a group of light-skinned men of various ages and a young boy clap as a figure in tattered clothing at center, his back to the viewer, dances and holds a tin cup in the air.

William Sidney Mount Bar-room Scene, 1835 Art Institute of Chicago

Venetian Passageway, John Singer Sargent, ca. 1905, watercolor, gouache, and graphite on white wove paper

John Singer Sargent Venetian Passageway, ca. 1905 The Met

Pierre Puvis de Chavannes The Prodigal Son, probably c. 1879 National Gallery of Art

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

From a grassy riverbank, we look across the placid surface of a river lined along the far bank with trees and farm animals in this horizontal landscape painting.

John Constable The White Horse, 1818-1819 National Gallery of Art

A young man and child, both with pale skin, are framed within the rectangular opening of a stone window in this vertical painting. At the center, the young man leans toward us over his forearms, which rest on the wide ledge.

Jean-Baptiste-Siméon Chardin Soap Bubbles, probably 1733/1734 National Gallery of Art

Head of a Girl, Anthony van Dyck, c. 1618–c. 1620, oil on panel

Anthony van Dyck Head of a Girl, c. 1618–c. 1620 Art Institute of Chicago

Dozens of figures in a brown field filled with discarded corn silks form two rows and sit across from each other husking corn, a farm in the background.

Eastman Johnson Husking Bee, Island of Nantucket, 1876 Art Institute of Chicago

The Edge of the Woods, Narcisse Virgilio Díaz de la Peña, 1872, oil on wood

Narcisse Virgilio Díaz de la Peña The Edge of the Woods, 1872 The Met

For the Little One, William Merritt Chase, ca. 1896, oil on canvas

William Merritt Chase For the Little One, ca. 1896 The Met

We look slightly down onto a bay that curves away from us into the distance and to our right in this horizontal landscape painting. C-shaped, shallow waves lap at the sandy beach from our right.

Worthington Whittredge Second Beach, Newport, c. 1878/1880 National Gallery of Art

Shown from the hips up, a light-skinned woman with deeply flushed cheeks sits in an armchair, looking at us from under raised and pointed eyebrows in this vertical portrait painting.

Gilbert Stuart Abigail Smith Adams (Mrs. John Adams), 1800/1815 National Gallery of Art

Fête champêtre (Pastoral Gathering), Antoine Watteau, 1718–21, oil on panel

Antoine Watteau Fête champêtre (Pastoral Gathering), 1718–21 Art Institute of Chicago

Madame Théodore Gobillard (Yves Morisot, 1838–1893), Edgar Degas, 1869, oil on canvas

Edgar Degas Madame Théodore Gobillard (Yves Morisot, 1838–1893), 1869 The Met

We look across churning waves at four sailing ships and a wooden rowboat with four men aboard in this horizontal painting. Dark, iron-gray and tawny-brown clouds approaching from the right fill the top two-thirds of the composition.

Joseph Mallord William Turner The Junction of the Thames and the Medway, 1807 National Gallery of Art

This painting is a portrait of a person with dark hair styled neatly in an updo with soft waves over their forehead.

Thomas Eakins Harriet Husson Carville (Mrs. James G. Carville), 1904 National Gallery of Art

The Triumph of Henry IV, Peter Paul Rubens, ca. 1630, oil on wood

Peter Paul Rubens The Triumph of Henry IV, ca. 1630 The Met

The Ridotto Pubblico at Palazzo Dandolo, Francesco Guardi, ca. 1765–68, oil on canvas

Francesco Guardi The Ridotto Pubblico at Palazzo Dandolo, ca. 1765–68 The Met

The Investiture of Bishop Harold as Duke of Franconia, Giovanni Battista Tiepolo, ca. 1751–52, oil on canvas

Giovanni Battista Tiepolo The Investiture of Bishop Harold as Duke of Franconia, ca. 1751–52 The Met

This painting depicts a young woman from the chest upwards, seated in a slightly turned position to the left.

Camille Corot Portrait of a Young Girl, 1850 or 1859 National Gallery of Art

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

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

Study for "The Dancing Lesson": The Boy, Thomas Eakins, probably 1877, oil on canvas

Thomas Eakins Study for "The Dancing Lesson": The Boy, probably 1877 National Gallery of Art

An October Day in the White Mountains, John Frederick Kensett, 1854, oil on canvas

John Frederick Kensett An October Day in the White Mountains, 1854 Cleveland Museum of Art

Queen Charlotte, Thomas Gainsborough, 1768, oil on canvas

Thomas Gainsborough Queen Charlotte, 1768 The Met

We look through a tropical forest lining a hazy, wide, placid river in this horizontal landscape painting. Densely packed trees, bushes, and plants create shadowed, thickly forested banks along both sides of the river.

Frederic Edwin Church El Rio de Luz (The River of Light), 1877 National Gallery of Art

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

Edgar Degas The Old Italian Woman, 1857 The Met

Still Life with Herrings, Jean-Baptiste-Siméon Chardin, c. 1735, oil on canvas

Jean-Baptiste-Siméon Chardin Still Life with Herrings, c. 1735 Cleveland Museum of Art

A crouching tiger to our left bares its fangs at a hissing snake wound around a tree to our right in this nearly square painting.

Eugène Delacroix Tiger and Snake, 1862 National Gallery of Art

Contrasts with your wall

Paintings built around the opposite color, which stand out against this wall. The truest opposites come first. The strongest 24 of 67.

Houses of Parliament, London, Claude Monet, 1900–1, oil on canvas

Claude Monet Houses of Parliament, London, 1900–1 Art Institute of Chicago

Vivid, lush view of rolling waves in purple, white, blue, and green against a bright blue sky with a watercolor-like blending of blues and purples. Sea and sky nearly become one.

Pierre-Auguste Renoir Seascape, 1879 Art Institute of Chicago

We look slightly down into a lime-green and white rowboat carrying a woman holding a baby and a man in this nearly square painting. The man wears midnight-blue shoes, pants, jacket, and soft, floppy cap.

Mary Cassatt The Boating Party, 1893/1894 National Gallery of Art

Painting of a cliff overlooking the sea. Two figures in long dresses, one with a parasol, stand on the cliff beneath blue sky.

Claude Monet Cliff Walk at Pourville, 1882 Art Institute of Chicago

Painting of a pond seen up close spotted with thickly painted pink and white water lilies and a shadow across the top third of the picture.

Claude Monet Water Lilies, 1906 Art Institute of Chicago

Horizontal oil painting in shades of pale purple, pink, and light blue of a bridge composed of multiple linked archways over water, engulfed in hazy fog.

Claude Monet Waterloo Bridge, Sunlight Effect, 1903 Art Institute of Chicago

Piazza San Marco, Francesco Guardi, late 1760s, oil on canvas

Francesco Guardi Piazza San Marco, late 1760s The Met

Figures on the Beach, Pierre-Auguste Renoir, 1890, oil on canvas

Pierre-Auguste Renoir Figures on the Beach, 1890 The Met

Violet and Silver—The Deep Sea, James McNeill Whistler, 1893, oil on canvas

James McNeill Whistler Violet and Silver—The Deep Sea, 1893 Art Institute of Chicago

Loosely painted scene of a brown-haired girl in her nightgown standing in a dark room, gazing out a window into a brighter night, her face unseen and her hand drawing back the pale curtain.

Edvard Munch The Girl by the Window, 1893 Art Institute of Chicago

From low on a hillside, we look up at a light-skinned woman and boy standing in tall grass against a sunny blue sky in this vertical painting.

Claude Monet Woman with a Parasol - Madame Monet and Her Son, 1875 National Gallery of Art

Rocks at Port-Goulphar, Belle-Île, Claude Monet, 1886, oil on canvas

Claude Monet Rocks at Port-Goulphar, Belle-Île, 1886 Art Institute of Chicago

Painting of a light-skinned woman dressed in a gauzy white gown with black trim playing an upright paino.

Pierre-Auguste Renoir Woman at the Piano, 1875–76 Art Institute of Chicago

Jewel-toned blue, red, yellow, green, and pearl white brushstrokes swirl and stretch in this loosely painted horizontal landscape painting.

Pierre-Auguste Renoir The Blue River, c. 1890/1900 National Gallery of Art

The painting shows a landscape with a large, dark blue mountain in the background. Below the mountain are blocks of color, suggesting fields and structures.

Alexej von Jawlensky Murnau, 1910 National Gallery of Art

The Apple Seller, Pierre-Auguste Renoir, c. 1890, oil on fabric

Pierre-Auguste Renoir The Apple Seller, c. 1890 Cleveland Museum of Art

Cylindrical, C-shaped, and triangular forms are painted with flat areas of vivid pink, purple, navy, royal, and light blue, turquoise, white, black, and gray in this abstract, horizontal painting.

Patrick Henry Bruce Peinture/Nature Morte, c. 1924 National Gallery of Art

Light-colored snowscape with visible brushstrokes featuring a bridge in front of red and white barns and farmhouses, surrounded by trees.

Claude Monet Sandvika, Norway, 1895 Art Institute of Chicago

Alpine Landscape: The Handegg, Switzerland, Jean-Léon Gérôme, 1850s, oil on fabric

Jean-Léon Gérôme Alpine Landscape: The Handegg, Switzerland, 1850s Cleveland Museum of Art

The Lock at Pontoise, Camille Pissarro, 1872, oil on fabric

Camille Pissarro The Lock at Pontoise, 1872 Cleveland Museum of Art

Corn Fields, Félix Vallotton, 1900, oil on board

Félix Vallotton Corn Fields, 1900 Cleveland Museum of Art

Vaprio d'Adda, Bernardo Bellotto, 1744, oil on canvas

Bernardo Bellotto Vaprio d'Adda, 1744 The Met

From atop a high hill, we look across a broad valley leading to a winding river in this loosely painted horizontal landscape. The scene is created entirely with visible brushstrokes in fresh and vibrant green and shimmering and smoky blues.

Theodore Robinson The Valley of the Seine, from the Hills of Giverny, 1892 National Gallery of Art

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

Neutral with your wall

Quiet palettes that neither match nor fight this color, the softest first. The strongest 24 of 272.

Saddle Horse in Farm Yard, Winslow Homer, ca. 1870–75, oil on wood

Winslow Homer Saddle Horse in Farm Yard, ca. 1870–75 The Met

Study of a Tree, Albert Bierstadt, ca. 1864, oil on paper mounted on board

Albert Bierstadt Study of a Tree, ca. 1864 The Met

Portrait of a Man with Gray Hair, Henry Raeburn, 1810–20, oil on canvas

Henry Raeburn Portrait of a Man with Gray Hair, 1810–20 Art Institute of Chicago

Fish, William Merritt Chase, by 1910, oil on canvas

William Merritt Chase Fish, by 1910 The Met

View near Sherburne, Chenango County, New York, Jasper Francis Cropsey, 1853, oil on canvas

Jasper Francis Cropsey View near Sherburne, Chenango County, New York, 1853 The Met

Jonathan Sturges, Asher Brown Durand, ca. 1840, oil on canvas

Asher Brown Durand Jonathan Sturges, ca. 1840 The Met

A Fisherman, Eastman Johnson, 1865, brown inks on tan-color sized canvas

Eastman Johnson A Fisherman, 1865 The Met

Sanford Robinson Gifford, Eastman Johnson, 1880, oil on academy board

Eastman Johnson Sanford Robinson Gifford, 1880 The Met

Lake George, A Reminiscence, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Lake George, A Reminiscence, 1872 The Met

Lake George, New York, John Frederick Kensett, 1872, oil on canvas

John Frederick Kensett Lake George, New York, 1872 The Met

Evening, New Bedford Harbor, Dwight William Tryon, 1890, oil on wood

Dwight William Tryon Evening, New Bedford Harbor, 1890 The Met

Moonlight, Dwight William Tryon, 1887, oil on wood

Dwight William Tryon Moonlight, 1887 The Met

Moonrise at Sunset, Dwight William Tryon, 1890, oil on wood

Dwight William Tryon Moonrise at Sunset, 1890 The Met

Village in Brittany, Charles-François Daubigny, 1844, oil on paper, mounted on canvas

Charles-François Daubigny Village in Brittany, 1844 Art Institute of Chicago

Nocturnal landscape painting with lush trees and a large patch of sky with visible brushstrokes. Multiple small, seated figures line the foreground.

Narcisse Virgilio Díaz de la Peña Landscape with Figures, c. 1870 Art Institute of Chicago

Castel San Elmo (from Cropsey Album), Jasper Francis Cropsey, 1848, graphite, white gouache, and watercolor on dark buff-colored wove paper

Jasper Francis Cropsey Castel San Elmo (from Cropsey Album), 1848 The Met

Environs of Fontainebleau: Woodland and Cattle, Rosa Bonheur, 1864, oil on canvas

Rosa Bonheur Environs of Fontainebleau: Woodland and Cattle, 1864 The Met

Capriccio: The Lagoon, Francesco Guardi, After 1770, oil on canvas

Francesco Guardi Capriccio: The Lagoon, After 1770 Art Institute of Chicago

The Circumcision, Giovanni Bellini, 1511, oil on wood

Giovanni Bellini The Circumcision, 1511 The Met

Virgin and Child, Peter Paul Rubens, 1619, oil on wood

Peter Paul Rubens Virgin and Child, 1619 The Met

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

Giovanni Battista Tiepolo Allegorical Figure Representing Temperance, 1760 The Met

Portrait of a Gentleman, Charles Willson Peale, ca. 1775, oil on canvas

Charles Willson Peale Portrait of a Gentleman, ca. 1775 The Met

Portrait of a Woman, Charles Willson Peale, ca. 1775, oil on canvas

Charles Willson Peale Portrait of a Woman, ca. 1775 The Met

Martin Euclid Thompson, William Sidney Mount, 1830, oil on canvas

William Sidney Mount Martin Euclid Thompson, 1830 The Met

Other wall colors