Guest Room Paintings: Welcoming Landscapes and Flowers (page 8)

Easy, generous classics that any visitor will wake up happy to see.

Showing 337 to 384 of 727 paintings

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

A rutted, dirt road curves from the bottom center of the canvas toward and behind a grove of tall trees to our left, beneath a pale blue sky with fluffy white clouds that fills the top two-thirds of this horizontal landscape painting.

Meindert Hobbema A Wooded Landscape, 1663 National Gallery of Art

Eight cows bathed in warm sunlight stand and lie on a riverbank carpeted in mossy green in this horizontal painting. The cows are amber, ginger, or tawny brown, bone white, or black, and all have short, curving horns.

Aelbert Cuyp River Landscape with Cows, 1645/1650 National Gallery of Art

We look sightly down and across a green meadow in front of us at a grove of tall trees to our left next to a shimmering body of water, before a deep view of distant mountains beneath an ice-blue sky in this horizontal landscape.

Asher Brown Durand Pastoral Landscape, 1861 National Gallery of Art

Twigs of a magnolia tree with light green, glossy leaves and three cream-white blossoms lie on a sapphire-blue cloth in this horizontal still life painting.

Martin Johnson Heade Giant Magnolias on a Blue Velvet Cloth, c. 1890 National Gallery of Art

Painting of a young woman outdoors in a light purple dress and head covering with a wooden yoke around her neck suspending large bundles of brightly colored flowers.

George Hitchcock Flower Girl in Holland, 1887 Art Institute of Chicago

Brooklyn Bridge, Henry Ward Ranger, 1899, oil on canvas

Henry Ward Ranger Brooklyn Bridge, 1899 Art Institute of Chicago

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

Landscape, Jean-Charles Cazin, after 1876, oil on canvas

Jean-Charles Cazin Landscape, after 1876 National Gallery of Art

This painting shows a slightly elevated viewpoint looking out across a green landscape towards a reflective body of water. In the green sky, the pale-yellow moon glows brightly, illuminating the scene.

Ralph Albert Blakelock Moonlight, 1886/1895 National Gallery of Art

Weary Wayfarers, Jean-Charles Cazin, 1888, oil on canvas

Jean-Charles Cazin Weary Wayfarers, 1888 National Gallery of Art

This painting depicts a landscape with rolling green hills viewed from an elevated perspective. Closest to us, the light green hills on the left are covered with yellowish grass.

Kenyon Cox Flying Shadows, 1883 National Gallery of Art

The painting depicts a wide country road seen from above. The horizon is halfway up the painting, showing the flat, green land meeting the blue sky. Far in the distance there are faint blue buildings, including a tall tower.

Jan Brueghel the Elder Wooded Landscape with Travelers, 1610 National Gallery of Art

View of Benjamin Reber's Farm, Charles C. Hofmann, 1872, oil on canvas

Charles C. Hofmann View of Benjamin Reber's Farm, 1872 National Gallery of Art

This painting depicts a sunlit forest with densely packed trees. Sunlight filters through the leaves, casting a warm glow and illuminating shades of green with hints of yellow and gold.

Henry Ward Ranger Spring Woods, c. 1910 National Gallery of Art

The artwork depicts a peaceful landscape viewed from an elevated perspective. The horizon divides the sky from the land below, with distant blue hills visible. The sky shows soft blues and gray clouds.

George Catlin Halsey's Bluff - Sioux Indians on the March, 1861/1869 National Gallery of Art

American Pasturage - Prairies of the Platte, George Catlin, 1861/1869, oil on card mounted on paperboard

George Catlin American Pasturage - Prairies of the Platte, 1861/1869 National Gallery of Art

The image shows a landscape with people at a campsite in the foreground. There are tents under trees, a plain leading to a hill in the background, and more hills further away.

George Catlin Expedition Encamped on a Texas Prairie. April 1686, 1847/1848 National Gallery of Art

The painting depicts an equestrian scene with people and horses in a green landscape. There are several people on horseback, and others standing by horses. Some people are also sitting in horse-drawn carriages.

John Ferneley Heaton Park Races, 1829 National Gallery of Art

The painting depicts a rural landscape from a distance, showing a hill, houses, and trees. At the bottom of the painting is a body of water with two green banks on either side. The water reflects the green surroundings.

Henri-Joseph Harpignies Landscape in Auvergne, 1870 National Gallery of Art

A tree with emerald-green leaves and laden with white blossoms grows in a dirt field, and is silhouetted against a vibrant blue sky in this horizontal landscape painting. The scene is loosely painted with visible dabs and strokes.

Camille Pissarro Orchard in Bloom, Louveciennes, 1872 National Gallery of Art

We look across a shaded field of snow, through a screen of loosely spaced trees at a cobalt-blue mountain that dominates this square landscape painting. The scene is painted with visible brushstrokes throughout.

Abbott Handerson Thayer Mount Monadnock, probably 1911/1914 National Gallery of Art

Beaulieu: The Bay of Fourmis, Eugène Boudin, 1892, oil on canvas

Eugène Boudin Beaulieu: The Bay of Fourmis, 1892 The Met

Water Lilies (Agapanthus), Claude Monet, c. 1915–26, oil on canvas

Claude Monet Water Lilies (Agapanthus), c. 1915–26 Cleveland Museum of Art

Large painting of ancient arch ruins, statues, humans are small in comparison.

Hubert Robert The Fountains, 1787–88 Art Institute of Chicago

Large painting, woman in pink dress in front of classical sculpture, shrine.

Joshua Reynolds Lady Sarah Bunbury Sacrificing to the Graces, 1763–65 Art Institute of Chicago

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

A Bouquet of Flowers, Clara Peeters, ca. 1612, oil on wood

Clara Peeters A Bouquet of Flowers, ca. 1612 The Met

Garden View, Brooklyn, Fidelia Bridges, ca. 1867, watercolor and gouache, with traces of graphite underdrawing, on tan hot-pressed wove paper

Fidelia Bridges Garden View, Brooklyn, ca. 1867 The Met

A tired-looking brown and white cow lies down on a patch of dry earth, a dark-brown bull and cow standing behind her against an overcast sky.

Paulus Potter Two Cows and a Young Bull beside a Fence in a Meadow, 1647 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

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

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

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

The Gulf Stream, Winslow Homer, 1899; reworked by 1906, oil on canvas

Winslow Homer The Gulf Stream, 1899; reworked by 1906 The Met

At the Seaside, William Merritt Chase, ca. 1892, oil on canvas

William Merritt Chase At the Seaside, ca. 1892 The Met

Poppy Field (Giverny), Claude Monet, 1890–91, oil on canvas

Claude Monet Poppy Field (Giverny), 1890–91 Art Institute of Chicago

Rinaldo and Armida in Her Garden, Giovanni Battista Tiepolo, c. 1742–45, oil on canvas

Giovanni Battista Tiepolo Rinaldo and Armida in Her Garden, c. 1742–45 Art Institute of Chicago

Armida Abandoned by Rinaldo, Giovanni Battista Tiepolo, c. 1742–45, oil on canvas

Giovanni Battista Tiepolo Armida Abandoned by Rinaldo, c. 1742–45 Art Institute of Chicago

View of Genoa, Camille Corot, 1834, oil on paper, mounted on canvas

Camille Corot View of Genoa, 1834 Art Institute of Chicago

Water Lily Pond, Claude Monet, 1917–19, oil on canvas

Claude Monet Water Lily Pond, 1917–19 Art Institute of Chicago

The Aegean Sea, Frederic Edwin Church, ca. 1877, oil on canvas

Frederic Edwin Church The Aegean Sea, ca. 1877 The Met

Stream and Rocks, John Singer Sargent, ca. 1901–8, watercolor, gouache, and graphite on white wove paper

John Singer Sargent Stream and Rocks, ca. 1901–8 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

The Gardener, Georges Seurat, 1882–83, oil on wood

Georges Seurat The Gardener, 1882–83 The Met

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

We look across the gleaming, forest-green surface of a lake at the foot of tall, jagged mountains in this horizontal landscape painting.

Albert Bierstadt Mount Corcoran, c. 1876-1877 National Gallery of Art

From a little above a dirt road, we look past a grove of trees to a broad plain and a lake at the foot of towering, hazy mountains in this horizontal landscape painting.

Albert Bierstadt Lake Lucerne, 1858 National Gallery of Art

Two horses, one dark brown and one cream white, stand together to our right against a landscape with rolling, sage-green hills and a river or canal in this horizontal painting.

Edgar Degas Horses in a Meadow, 1871 National Gallery of Art