Hudson River School Paintings for a Home Office

Here are 31 Hudson River School paintings for a home office, painted between 1829 and 1900, with works by Jasper Francis Cropsey, Thomas Cole and Frederic Edwin Church; the subjects they return to most are architecture, and landscapes. Architecture, bridges, harbors, library and study interiors, and calm geometric or early abstract compositions give the wall order; muted palettes keep the room focused.

All 691 paintings for a home office

Every Hudson River School painting, for any room

View of Schroon Mountain, Essex County, New York, After a Storm, Thomas Cole 25 × 40 in landscape print (63 × 102 cm), centered 51¾ in from the floor, 8 in above the desk. Drawn to scale on a 12 × 8 ft wall.

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31 Hudson River School paintings

View of Schroon Mountain, Essex County, New York, After a Storm, Thomas Cole, 1838, oil on canvas

Thomas Cole View of Schroon Mountain, Essex County, New York, After a Storm, 1838 Cleveland Museum of Art

A View near Tivoli (Morning), Thomas Cole, 1832, oil on canvas

Thomas Cole A View near Tivoli (Morning), 1832 The Met

We look across a rocky, grass-covered promontory at a crumbling, round brick tower overlooking topaz-blue water in this horizontal landscape painting.

Thomas Cole Italian Coast Scene with Ruined Tower, 1838 National Gallery of Art

Cotopaxi, Frederic Edwin Church, 1855, oil on canvas

Frederic Edwin Church Cotopaxi, 1855 Smithsonian American Art Museum

The Subsiding of the Waters of the Deluge, Thomas Cole, 1829, oil on canvas

Thomas Cole The Subsiding of the Waters of the Deluge, 1829 Smithsonian American Art Museum

Cathedral Rocks, Yosemite Valley, Albert Bierstadt, ca. 1872, oil on paper mounted on canvas

Albert Bierstadt Cathedral Rocks, Yosemite Valley, ca. 1872 Smithsonian American Art Museum

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

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

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

A view across a wide, brightly lit field scattered with broken pieces of stone is framed to the left and right by crumbling stone temples in this horizontal painting.

Sanford Robinson Gifford Ruins of the Parthenon, 1880 National Gallery of Art

This painting features a landscape with a calm body of water dominating the lower portion. The view is slightly elevated, overlooking the water that reflects the surrounding greenery and sky.

Jasper Francis Cropsey Warwick Castle, England, 1857 National Gallery of Art

Catskill Creek, Jasper Francis Cropsey, 1850, oil on canvas

Jasper Francis Cropsey Catskill Creek, 1850 Smithsonian American Art Museum

Greenwood Lake, Jasper Francis Cropsey, 1875, oil on canvas mounted on masonite

Jasper Francis Cropsey Greenwood Lake, 1875 Smithsonian American Art Museum

Along the Hudson, John Frederick Kensett, 1852, oil on canvas

John Frederick Kensett Along the Hudson, 1852 Smithsonian American Art Museum

Evening on the Thames, Homer Dodge Martin, ca. 1876, oil on canvas

Homer Dodge Martin Evening on the Thames, ca. 1876 Smithsonian American Art Museum

The Iron Mine, Port Henry, New York, Homer Dodge Martin, ca. 1862, oil on canvas mounted on fiberboard

Homer Dodge Martin The Iron Mine, Port Henry, New York, ca. 1862 Smithsonian American Art Museum

Venice from the Tower of San Giorgio, Thomas Moran, 1900, watercolor on paper mounted on paperboard

Thomas Moran Venice from the Tower of San Giorgio, 1900 Smithsonian American Art Museum

The Monastery of San Pedro (Our Lady of the Snows), Frederic Edwin Church, 1879, oil on canvas

Frederic Edwin Church The Monastery of San Pedro (Our Lady of the Snows), 1879 Cleveland Museum of Art

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

Frederic Edwin Church The Parthenon, 1871 The Met

We look out onto a sweeping, panoramic view with trees, their leaves fiery orange and red, framing a view of a distant body of water under a sun-streaked sky in this long, horizontal landscape painting.

Jasper Francis Cropsey Autumn - On the Hudson River, 1860 National Gallery of Art

The painting depicts a tranquil lake scene with a low horizon line showing a pale green hill in the background under a pale, cloudy sky. Closer to us, on the right, there is a large, textured rock surrounded by greenery and red flowers.

John Frederick Kensett Landing at Sabbath Day Point, c. 1853 National Gallery of Art

Untitled, Jasper Francis Cropsey, ca. 1875-1880, oil on canvas

Jasper Francis Cropsey Untitled, ca. 1875-1880 Smithsonian American Art Museum

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

Villa Malta, Rome, Sanford Robinson Gifford, 1879, oil on canvas

Sanford Robinson Gifford Villa Malta, Rome, 1879 Smithsonian American Art Museum

Interior of a Westphalian Cottage, Worthington Whittredge, 1852, oil on canvas

Worthington Whittredge Interior of a Westphalian Cottage, 1852 Smithsonian American Art Museum

Above Tower Falls, Yellowstone, Thomas Moran, 1872, watercolor and gouache on paper

Thomas Moran Above Tower Falls, Yellowstone, 1872 Smithsonian American Art Museum

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

Aurora Borealis, Frederic Edwin Church, 1865, oil on canvas

Frederic Edwin Church Aurora Borealis, 1865 Smithsonian American Art Museum

The Pilgrim of the World at the End of His Journey (study for the series, The Cross and the World), Thomas Cole, ca. 1847, oil on canvas

Thomas Cole The Pilgrim of the World at the End of His Journey (study for the series, The Cross and the World), ca. 1847 Smithsonian American Art Museum

Mountain Scene, Albert Bierstadt, 1880–90, oil on paper

Albert Bierstadt Mountain Scene, 1880–90 The Met

The top three-quarters of this horizontal landscape painting is filled with roiling, deeply shadowed clouds that tower over a line of buffalo crossing a grassy meadow below.

Albert Bierstadt Buffalo Trail: The Impending Storm, 1869 National Gallery of Art

We look across a dark, aquamarine-blue body of water at a bulky, stony outcropping to our right in this horizontal landscape painting.

John Frederick Kensett Beacon Rock, Newport Harbor, 1857 National Gallery of Art

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Living Room 479 shared
Bedroom 309 shared
Guest Room 275 shared
Apartment & Dorm 150 shared

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