Paintings for Terracotta Walls

Sunbaked and bold; pair with blues or lean in with warm landscapes.

Terracotta #C8785A

Teals and blues contrast; umber and gold echo.

Echoes your wall 1,311
Contrasts with your wall 183
Neutral with your wall 880

Catherine Howard, Lady d'Aubigny, Anthony van Dyck 16 × 20 in portrait print (41 × 51 cm), centered 53¼ 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 1,311.

A woman with a pale, peachy skin stands wearing a voluminous rose-pink, silk dress and holding a wreath of pink and white roses and greenery in this vertical portrait painting.

Anthony van Dyck Catherine Howard, Lady d'Aubigny, c. 1638 National Gallery of Art

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

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

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

Peter Paul Rubens Head of One of the Three Kings: Melchior, The Assyrian King, c. 1618 National Gallery of Art

Sunset near Arbonne, Théodore Rousseau, ca. 1860–65, oil on wood

Théodore Rousseau Sunset near Arbonne, ca. 1860–65 The Met

Portrait of a Woman, Joseph Wright of Derby, ca. 1770, oil on canvas

Joseph Wright of Derby Portrait of a Woman, ca. 1770 The Met

A woman leans forward to trace the shadow cast by a sleeping young man on a wall in a dimly lit room in this horizontal painting. Both people have smooth, pale skin, long, straight noses, thin lips, and brown hair.

Joseph Wright of Derby The Corinthian Maid, 1782-1784 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

A balding, older man sits in a golden boat guided by a winged angel away from craggy rocks to calm waters, toward a shaft of light piercing a billowing bank of clouds in this horizontal landscape painting.

Thomas Cole The Voyage of Life: Old Age, 1842 National Gallery of Art

Shown from the knees up, a pale-skinned woman in a voluminous rust-orange dress stands facing us in this vertical portrait painting. She looks toward us but slightly down with dark brown eyes under curved brows.

Edgar Degas Girl in Red, c. 1866 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

This drawing shows the faint outline of a domed building. The representation is minimalistic, with few details of the building shown besides the dome and vertical lines that might suggest columns.

Thomas Cole Sketch for Ohio State Capitol Design, c. 1838 National Gallery of Art

The Agony in the Garden, Nicolas Poussin, 1626–27, oil on copper

Nicolas Poussin The Agony in the Garden, 1626–27 The Met

Albert (René) Grenier (1858–1925), Henri de Toulouse-Lautrec, 1887, oil on wood

Henri de Toulouse-Lautrec Albert (René) Grenier (1858–1925), 1887 The Met

Anna Maria Brodeau Thornton (Mrs. William Thornton), Gilbert Stuart, 1804, oil on canvas

Gilbert Stuart Anna Maria Brodeau Thornton (Mrs. William Thornton), 1804 National Gallery of Art

Study for the Ceiling of the Marquand Music Room, Frederic Leighton, ca. 1886, oil and gold on canvas

Frederic Leighton Study for the Ceiling of the Marquand Music Room, ca. 1886 The Met

A partially nude woman with pale, peachy skin sits to our left looking into a mirror held up by a nearly nude, winged child to our right in this vertical painting.

Titian Venus with a Mirror, c. 1555 National Gallery of Art

Harriet Hubbard Ayer, Eastman Johnson, 1881, oil on canvas

Eastman Johnson Harriet Hubbard Ayer, 1881 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

Ruin by the Sea, Arnold Böcklin, 1881, oil on fabric

Arnold Böcklin Ruin by the Sea, 1881 Cleveland Museum of Art

Large painting of Holy Family: Mary in red, holding baby Jesus.

Peter Paul Rubens The Holy Family with Saints Elizabeth and John the Baptist, c. 1615 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 the waist up and nearly filling the picture, a young woman with pale skin, dressed in a jewel-toned gown and cape, looks out at us in this vertical painting.

Lorenzo Lotto Saint Catherine, 1522 National Gallery of Art

This painting shows a serene forest setting with a wide, shallow stream flowing gently towards us. The scene is enclosed by tall trees on either side.

Worthington Whittredge Trout Brook in the Catskills, 1875 National Gallery of Art

Frieda Schiff (1876–1958), Later Mrs. Felix M. Warburg, Anders Zorn, 1894, oil on canvas

Anders Zorn Frieda Schiff (1876–1958), Later Mrs. Felix M. Warburg, 1894 The Met

Bouquet in a Chinese Vase, Odilon Redon, ca. 1912–14, oil on canvas

Odilon Redon Bouquet in a Chinese Vase, ca. 1912–14 The Met

The head and shoulders of a young woman with gold-tinted, pale skin looks out over our right shoulder from against a tomato-red background in this vertical painting.

James McNeill Whistler Alice Butt, c. 1895 National Gallery of Art

This painting shows two large pears on a white tablecloth. The pear on the left is a pinkish color and sits directly on the cloth. The pear on the right is yellow, and it rests on a white plate next to a small knife.

Sanford Robinson Gifford Two Pears on a Tabletop, c. 1866 National Gallery of Art

Three light-skinned men, one with his head and knee bandaged, sit and stand around a rusty, free-standing stove in a room with wide plank floors in this horizontal painting.

William Sidney Mount The Tough Story - Scene in a Country Tavern, 1837 National Gallery of Art

A band of several galloping horses and riders move across the center of this vertical painting. The color palette is dominated by blended earthy brown, green, and pale pink.

Edgar Degas Scene from the Steeplechase: The Fallen Jockey, 1866, reworked 1880-1881 and c. 1897 National Gallery of Art

This painting shows three large peaches on a round white plate. The peaches are in shades of red, pink, and light yellow, and they cast dark shadows on the plate. The plate rests on a brown surface which fills the background of the image.

Henri Fantin-Latour Three Peaches on a Plate, 1868 National Gallery of Art

The Return of Persephone, Frederic Leighton, ca. 1890–91, oil on canvas

Frederic Leighton The Return of Persephone, ca. 1890–91 The Met

The painting shows a woman's figure from the waist up, seated, and her body is turned slightly to our left. Her head is turned to face the viewer.

Charles Willson Peale Rebecca Bryan White (Mrs. John White), 1788 National Gallery of Art

An older man with a tanned skin and a white beard is shown from the waist up against a dark brown background in this vertical portrait painting. His body is angled to our right but he turns his head to look to our left.

Titian Doge Andrea Gritti, c. 1546/1550 National Gallery of Art

The head and chest of a man with pale pink skin, a honey-blond beard, and curly, mahogany-brown hair around a receding hairline fills this vertical portrait painting.

Peter Paul Rubens Peter Paul Rubens, c. 1620 National Gallery of Art

Two thick, twisting, splintered tree trunks with broken branches stripped of leaves are set against a dark, wooded landscape beneath a nearly black sky in this horizontal landscape painting.

Thomas Cole Tornado in an American Forest, 1831 National Gallery of Art

A woman with smooth, pale skin and wearing a hat, long dress, and gloves, stands holding a bunch of pumpkin-orange leaves against a background of trees painted with touches of rust orange and pine green in this vertical painting.

Winslow Homer Autumn, 1877 National Gallery of Art

Hamlet and His Mother, Eugène Delacroix, 1849, oil on canvas

Eugène Delacroix Hamlet and His Mother, 1849 The Met

A man with pale white skin sits and a man with light brown skin stands in front of a cave-like, rocky outcropping in this vertical portrait painting.

Benjamin West Colonel Guy Johnson and Karonghyontye (Captain David Hill), 1776 National Gallery of Art

Figures and a Dog in a Landscape, Narcisse Virgilio Díaz de la Peña, 1852, oil on wood

Narcisse Virgilio Díaz de la Peña Figures and a Dog in a Landscape, 1852 The Met

Shown from the waist up, a pale-skinned, round-cheeked young boy wears a brocade red and gold garment and hat in this vertical portrait painting.

Hans Holbein the Younger Edward VI as a Child, probably 1538 National Gallery of Art

A nearly nude, muscular man with pale, peachy skin sits in an underground cave among seven male and two female lions in this horizontal painting.

Peter Paul Rubens Daniel in the Lions' Den, c. 1614/1616 National Gallery of Art

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

Portrait of a Woman with a Man at a Casement, Fra Filippo Lippi, ca. 1440, tempera on wood

Fra Filippo Lippi Portrait of a Woman with a Man at a Casement, ca. 1440 The Met

This painting depicts a coastal scene with a large group of people with light skin dressed in draping fabric in shades of red, yellow, blue, and purple.

Benjamin West Telemachus and Calypso, c. 1809 National Gallery of Art

Facing away from us against a cherry-red background, the head and shoulders of a light-skinned woman wearing strawberry red, with her copper-brown hair piled atop her head, fills this vertical painting.

Carolus-Duran Study of Lilia, 1887 National Gallery of Art

Kitchen Utensils with Leeks, Fish, and Eggs, Jean-Baptiste-Siméon Chardin, c. 1734, oil on canvas

Jean-Baptiste-Siméon Chardin Kitchen Utensils with Leeks, Fish, and Eggs, c. 1734 Cleveland Museum of Art

Light from the upper left falls across a glass, a pitcher, peaches in a basket, and other fruit arranged along a brown tabletop or ledge in this horizontal still life painting.

Jean-Baptiste-Siméon Chardin Fruit, Jug, and a Glass, c. 1726/1728 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 183.

Painted almost entirely in tones of topaz, lapis, and sky blue, the façade of a building abutting a waterway fills this horizontal painting. Brushstrokes are visible throughout and they blend to make the scene appear hazy.

Claude Monet Palazzo da Mula, Venice, 1908 National Gallery of Art

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

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

Low Tide at Pourville, near Dieppe, 1882, Claude Monet, 1882, oil on fabric

Claude Monet Low Tide at Pourville, near Dieppe, 1882, 1882 Cleveland Museum of Art

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

Painting of a crowd of well-dressed light-skinned people in an open, snowy field surrounded by large rolling hills.

George Bellows Love of Winter, 1914 Art Institute of Chicago

Shown from the chest up, a man with short, orange hair and green-tinted, pale skin looks at us, wearing a vivid blue painter's smock in this vertical portrait painting.

Vincent van Gogh Self-Portrait, 1889 National Gallery of Art

Boy in a Blue Coat, George Bellows, 1915, oil on canvas

George Bellows Boy in a Blue Coat, 1915 Cleveland Museum of Art

This painting shows a riverside with a cream-colored bridge cutting horizontally across the scene in front of a bustling city. The bridge is decorated with flags that have stripes of red, white, and blue.

Armand Guillaumin The Bridge of Louis Philippe, 1875 National Gallery of Art

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

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

A small brown dog and a pale-skinned little girl wearing a white dress sit in matching celestial-blue armchairs in this horizontal painting. To our right, the girl sits with her legs angled to our left.

Mary Cassatt Little Girl in a Blue Armchair, 1878 National Gallery of Art

We look down on a few dozen people walking along the sidewalks of a wide, sunlit bridge in this almost square painting. The scene is loosely painted, which gives it a hazy, sun-dappled look and makes some details indistinct.

Pierre-Auguste Renoir Pont Neuf, Paris, 1872 National Gallery of Art

Two minuscule people stand in the center of an expansive, rugged landscape dusted with snow in this horizontal painting.

Caspar David Friedrich Northern Landscape, Spring, c. 1825 National Gallery of Art

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

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

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

We look slightly down onto a port-side town along a canal, with a church across the water from us in this horizontal landscape painting. A bright blue sky with billowing white, pink, and gray clouds fills the top two-thirds of the painting.

Canaletto Entrance to the Grand Canal from the Molo, Venice, 1742/1744 National Gallery of Art

Terrace and Observation Deck at the Moulin de Blute-Fin, Montmartre, Vincent van Gogh, Early 1887, oil on canvas, mounted on pressboard

Vincent van Gogh Terrace and Observation Deck at the Moulin de Blute-Fin, Montmartre, Early 1887 Art Institute of Chicago

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

We look across the water at two sailing ships with cream-white sails and dark rigging floating in a shimmering, ice-blue river against a distant shore lined with trees, hills, and buildings in this nearly square landscape painting.

Claude Monet Ships Riding on the Seine at Rouen, 1872/1873 National Gallery of Art

Still Life with Teapot and Fruit, Paul Gauguin, 1896, oil on canvas

Paul Gauguin Still Life with Teapot and Fruit, 1896 The Met

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 Laundress, Pierre-Auguste Renoir, 1877–79, oil on canvas

Pierre-Auguste Renoir The Laundress, 1877–79 Art Institute of Chicago

The Island of San Michele, Venice, Francesco Guardi, 1770s, oil on canvas

Francesco Guardi The Island of San Michele, Venice, 1770s The Met

Sunflowers, Vincent van Gogh, 1887, oil on canvas

Vincent van Gogh Sunflowers, 1887 The Met

Neutral with your wall

Quiet palettes that neither match nor fight this color, the softest first. The strongest 24 of 880.

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