Paintings for Terracotta Walls (page 8)

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 337 to 384 of 1,311.

Portrait of a light-skinned man in a long white wig and red-orange coat, holding a folded piece of paper and standing next to a desk, a large sailing ship off his left shoulder.

John Smibert Richard Bill, 1733 Art Institute of Chicago

Bullfight in a Divided Ring, Francisco de Goya, ca. 1810, oil on canvas

Francisco de Goya Bullfight in a Divided Ring, ca. 1810 The Met

Diana and Her Nymphs Departing for the Hunt, Peter Paul Rubens, c. 1615, oil on canvas

Peter Paul Rubens Diana and Her Nymphs Departing for the Hunt, c. 1615 Cleveland Museum of Art

Portrait of a Young Man, Hans Memling, ca. 1472–75, oil on oak panel

Hans Memling Portrait of a Young Man, ca. 1472–75 The Met

The Apotheosis of the Spanish Monarchy, Giovanni Battista Tiepolo, 1760s, oil on canvas

Giovanni Battista Tiepolo The Apotheosis of the Spanish Monarchy, 1760s The Met

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

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

Shown from the waist up, a pale-skinned man with a mustache stands with one hand on his hip and the other hand held up in this dark-toned, vertical portrait painting.

James McNeill Whistler Gold and Brown: Self-Portrait, c. 1896-1898 National Gallery of Art

Shown from the knees up, a pale-skinned woman looking off to the left from her seat on a divan wears a carnation-pink gown and a fur-lined cloak in this vertical portrait painting.

John Singleton Copley Abigail Smith Babcock (Mrs. Adam Babcock), c. 1774 National Gallery of Art

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

Painting of woman, arms crossed on brown desk, staring at goldfish.

Henri Matisse Woman before an Aquarium, 1921–23 Art Institute of Chicago

An orange and the bodies of a large fowl and two rabbits on a brown ledge nearly span the width of this square still life painting. The face of the ledge takes up the bottom quarter of the composition.

Jean-Baptiste-Siméon Chardin Still Life with Game, probably 1750s National Gallery of Art

Painted in golden tones of butter and harvest yellow, tawny brown, and olive green, this horizontal landscape painting has a low wall stretching diagonally from the lower right corner off to our left, dividing a river to our right from a…

Joseph Mallord William Turner Mortlake Terrace, 1827 National Gallery of Art

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

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

This painting displays soft, rounded shapes and fragmented lines, creating an abstract portrayal of two people seated at a dark yellow table.

Édouard Vuillard Two Women Drinking Coffee, c. 1893 National Gallery of Art

A path enclosed almost entirely with trees stretches into a dense, sun-dappled forest before us in this horizontal landscape painting.

Narcisse Virgilio Díaz de la Peña In the Forest, 1874 National Gallery of Art

Women Working in a Field, Winslow Homer, 1867, oil on wood

Winslow Homer Women Working in a Field, 1867 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

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

A Dog Feast - Sioux, George Catlin, 1861/1869, oil on card mounted on paperboard

George Catlin A Dog Feast - Sioux, 1861/1869 National Gallery of Art

Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi, Edgar Degas, c. 1875, oil on fabric

Edgar Degas Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi, c. 1875 Cleveland Museum of Art

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

Lucia, Frederic Leighton, possibly late 1870s, oil on canvas

Frederic Leighton Lucia, possibly late 1870s The Met

Shown from the lap up, a woman with peachy skin, wearing a white silk dress and feathered headpiece, sits facing and looking at us in a harvest-yellow, upholstered chair in this vertical portrait painting.

Jacques-Louis David Madame David, 1813 National Gallery of Art

A large, dark sailing ship to our left is stranded near the shore, angled dramatically away from us, in choppy waves under a periwinkle-blue sky streaked with gray and copper-colored clouds in this horizontal painting.

Asher Brown Durand The Stranded Ship, 1844 National Gallery of Art

Shown from the shoulders up, a man with peachy skin looks off to our left as he holds the feathered end of an arrow up in a hand resting along the bottom edge of this vertical portrait painting.

Hans Memling Portrait of a Man with an Arrow, c. 1470/1475 National Gallery of Art

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

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

Albert Gallatin, Gilbert Stuart, ca. 1803, oil on canvas

Gilbert Stuart Albert Gallatin, ca. 1803 The Met

The Parthenon, Frederic Edwin Church, 1871, oil on canvas

Frederic Edwin Church The Parthenon, 1871 The Met

Boy Drinking, Annibale Carracci, 1582–83, oil on canvas

Annibale Carracci Boy Drinking, 1582–83 Cleveland Museum of Art

A band of indigenous Americans ride horses toward and through a herd of buffalo, which spreads along a river that winds through plains to mountains in the deep distance in this horizontal landscape painting.

Albert Bierstadt The Last of the Buffalo, 1888-1889 National Gallery of Art

Virgin and Child, Rogier van der Weyden, c. 1460, oil on panel

Rogier van der Weyden Virgin and Child, c. 1460 Art Institute of Chicago

The Penitent Magdalen, Georges de La Tour, ca. 1640, oil on canvas

Georges de La Tour The Penitent Magdalen, ca. 1640 The Met

A man and woman are surrounded by six pudgy children, some with wings, against a deep landscape in this square painting. At the center of the composition, the man, Bacchus, sits astride a wine barrel, which is about half his height.

Giovanni Battista Tiepolo Bacchus and Ariadne, c. 1743/1745 National Gallery of Art

Alice Gerson in Prospect Park, William Merritt Chase, 1886, oil on panel

William Merritt Chase Alice Gerson in Prospect Park, 1886 The Met

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

Children and a Cow, Aelbert Cuyp, 1635–39, oil on wood

Aelbert Cuyp Children and a Cow, 1635–39 The Met

The Immaculate Conception, Guido Reni, 1627, oil on canvas

Guido Reni The Immaculate Conception, 1627 The Met

This painting shows a portrait of a man. His head is turned to the left. He has light skin, a straight nose, a soft jawline, and pale lips in a neutral expression. He has closely cropped brown hair mostly covered by a black cap.

Andrea Mantegna Portrait of a Man, c. 1470 National Gallery of Art

The Assumption of the Virgin, Bernardo Daddi, 1337–38, tempera on wood, gold ground

Bernardo Daddi The Assumption of the Virgin, 1337–38 The Met

Merrymakers at Shrovetide, Frans Hals, ca. 1616–17, oil on canvas

Frans Hals Merrymakers at Shrovetide, ca. 1616–17 The Met

This painting shows a woodland scene with dense trees on the right side, their white and brown trunks twisting upwards and their leaves in shades of dark green, yellow ochre, and rusty orange.

Narcisse Virgilio Díaz de la Peña The Edge of the Forest at Les Monts-Girard, Fontainebleau, 1868 National Gallery of Art

This painting depicts a vast landscape with a horizon line in the lower third of the painting. A range of dark brown and purple mountains or hills stretches across the width of the image.

Thomas Cole Study for "Catskill Creek", c. 1844/1845 National Gallery of Art

Shown from about the knees up, a man with peachy skin, wearing a voluminous black cloak and a tall, brimmed hat, looks directly at us in this vertical portrait painting.

Rembrandt van Rijn Portrait of a Man in a Tall Hat, c. 1663 National Gallery of Art

This vertical portrait painting shows the head and shoulders of a person with pale peach skin and an auburn, cheek-length bob hairstyle. The person has high cheek bones, deep pink lips, and an angular, pointed chin.

Amedeo Modigliani Madame Kisling, c. 1917 National Gallery of Art

Shown from the knees up, a pale-skinned woman wears a wide, pleated collar and a black gown in this vertical portrait painting. Her body is angled to our left, and she looks at us from the corners of her light brown eyes.

Anthony van Dyck Portrait of a Flemish Lady, probably 1618 National Gallery of Art

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