Large Paintings for a Home Office (page 2)

Showing 49 to 96 of 124 large paintings

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

A rustic, arched, stone bridge spanning a shallow river nearly fills this horizontal landscape.

Hubert Robert The Ponte Salario, c. 1775 National Gallery of Art

This painting is of a garden landscape in front of a large palace, seen from an elevated perspective.

Bernardo Bellotto Nymphenburg Palace, Munich, c. 1761 National Gallery of Art

Afternoon sunlight pours over a town crowded along the banks of a serene, glass-green river that runs through the middle of this horizontal painting. Several buildings cluster to our left on the riverbank close to us.

Bernardo Bellotto View of Munich, c. 1761 National Gallery of Art

From under an elevated train track, we look at a cluster of people hammering and working on the far side of a wooden fence, all against a silvery-blue building that fills most of the background in this horizontal painting.

George Bellows Blue Morning, 1909 National Gallery of Art

A six-story, narrow building stands alone in an otherwise unoccupied lot under the deck of a high bridge, with a river and cityscape in the background in this horizontal painting.

George Bellows The Lone Tenement, 1909 National Gallery of Art

We look slightly down onto a crush of pedestrians, horse-drawn carriages, wagons, and streetcars enclosed by a row of densely spaced buildings and skyscrapers opposite us in this horizontal painting.

George Bellows New York, 1911 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

This is a painting of a pastoral scene with animals, a watermill, and a bridge. The artwork features a rural landscape with lush greenery and a serene setting.

Charles Georges Dufresne Judgment of Paris, 1925 National Gallery of Art

This painting displays an elevated view of a bustling port town. In the center, a tall tree with dense green foliage stands out against a light blue sky with fluffy white clouds.

Jurgan Frederick Huge Composite Harbor Scene with Castle, c. 1875 National Gallery of Art

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

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

Dark portrait of older woman in black dress with lace collar, flowers.

Gustave Courbet Mère Grégoire, 1855, reworked 1857–59 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

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

Piazza San Marco, Venice, Bernardo Bellotto, c. 1740, oil on canvas

Bernardo Bellotto Piazza San Marco, Venice, c. 1740 Cleveland Museum of Art

Pine Grove of the Barberini Villa, George Inness, 1876, oil on canvas

George Inness Pine Grove of the Barberini Villa, 1876 The Met

Fantastic Landscape, Francesco Guardi, ca. 1765, oil on canvas

Francesco Guardi Fantastic Landscape, ca. 1765 The Met

Fantastic Landscape, Francesco Guardi, ca. 1765, oil on canvas

Francesco Guardi Fantastic Landscape, ca. 1765 The Met

A screen made up of five tall, rectangular panels, set side by side and each surrounded by a gold frame, is painted as a single scene showing a tree-lined sidewalk curving around a park in a city.

Édouard Vuillard Place Vintimille, 1911 National Gallery of Art

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

In the distance, a fortress sits on a rocky plateau below a sky filled with lightly rolling white and gray clouds in this horizontal landscape painting.

Bernardo Bellotto The Fortress of Königstein, 1756-1758 National Gallery of Art

Painting depicting Christ anointed by a woman in yellow, seated centrally at a crowded table of guests with long thin grayish faces in colorful robes with strong white highlights.

El Greco The Feast in the House of Simon, c. 1608–14 Art Institute of Chicago

Allegory of the Catholic Faith, Johannes Vermeer, ca. 1670–72, oil on canvas

Johannes Vermeer Allegory of the Catholic Faith, ca. 1670–72 The Met

Young Woman with Ibis, Edgar Degas, 1857–58; reworked 1860–62, oil on canvas

Edgar Degas Young Woman with Ibis, 1857–58; reworked 1860–62 The Met

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

We look up at the exterior of a church that soars the height of this vertical painting.

Claude Monet Rouen Cathedral, West Façade, 1894 National Gallery of Art

We look up at the exterior of a church that soars the height of this vertical painting.

Claude Monet Rouen Cathedral, West Façade, Sunlight, 1894 National Gallery of Art

We look slightly down across a sun-drenched plaza with people scattered among ruins, buildings, and around a free-standing column in this vertical landscape painting. The people we can see have light skin.

Canaletto English Landscape Capriccio with a Column, c. 1754 National Gallery of Art

Sun pours across a landscape with trees and plants growing around and on an arched stone ruin, a bridge and river, and, in the distance, buildings along a flat-topped hill carpeted with grass in this vertical painting.

Canaletto English Landscape Capriccio with a Palace, c. 1754 National Gallery of Art

Shown from the knees up, a pale-skinned woman wearing a black dress with white cuffs and a wide, starched collar sits in a wooden chair against a dark brown background in this vertical portrait painting.

Rembrandt van Rijn An Old Lady with a Book, 1637 National Gallery of Art

Shown from the knees up, a young woman wearing a white gown and bonnet sits in front of a balcony railing on a sunny day, holding a small dog on her lap in this vertical portrait painting.

Mary Cassatt Young Girl at a Window, c. 1883-1884 National Gallery of Art

Mrs. Sylvanus Bourne, John Singleton Copley, 1766, oil on canvas

John Singleton Copley Mrs. Sylvanus Bourne, 1766 The Met

Samuel Mifflin, Charles Willson Peale, 1777–80, oil on canvas

Charles Willson Peale Samuel Mifflin, 1777–80 The Met

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

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

Madonna and Child Enthroned with Two Angels, Fra Filippo Lippi, ca. 1440, tempera and gold on wood, transferred from wood

Fra Filippo Lippi Madonna and Child Enthroned with Two Angels, ca. 1440 The Met

Arches in Ruins, Hubert Robert, 1781, oil on canvas

Hubert Robert Arches in Ruins, 1781 The Met

A Colonnade in Ruins, Hubert Robert, 1781, oil on canvas

Hubert Robert A Colonnade in Ruins, 1781 The Met

Shown from the knees up, a woman wearing an ice- and teal-blue dress and shawl sits in front of a window in this vertical painting. The scene is painted loosely with brushstrokes especially evident in the clothing and background.

Childe Hassam The New York Window, 1912 National Gallery of Art

Beggar with Oysters (Philosopher), Édouard Manet, 1865–67, oil on canvas

Édouard Manet Beggar with Oysters (Philosopher), 1865–67 Art Institute of Chicago

A man with pale peach skin and dark hair wears a military uniform and stands in front of a desk in this vertical portrait painting. He nearly fills the composition so seems close to us, and he looks directly at us.

Jacques-Louis David The Emperor Napoleon in His Study at the Tuileries, 1812 National Gallery of Art

A man sitting in a tall, upholstered armchair reads a newspaper in this vertical portrait painting. The man and the room in which he sits is loosely painted with bold, visible strokes throughout.

Paul Cézanne The Artist's Father, Reading "L'Événement", 1866 National Gallery of Art

Beggar with a Duffle Coat (Philosopher), Édouard Manet, 1865–67, oil on canvas

Édouard Manet Beggar with a Duffle Coat (Philosopher), 1865–67 Art Institute of Chicago

The Ford, Claude Lorrain, possibly 1636, oil on canvas

Claude Lorrain The Ford, possibly 1636 The Met

Boating, Édouard Manet, 1874, oil on canvas

Édouard Manet Boating, 1874 The Met

The Trojan Women Setting Fire to Their Fleet, Claude Lorrain, ca. 1643, oil on canvas

Claude Lorrain The Trojan Women Setting Fire to Their Fleet, ca. 1643 The Met

Impressionist painting of seated man, girl with brown, black hues.

Edgar Degas Henri Degas and His Niece Lucie Degas (The Artist's Uncle and Cousin), 1875–76 Art Institute of Chicago

Abstract painting in various bright colors—yellow, blue, red, green, orange, pink—with lines indicating building-like structures as well as canons in the lower right corner.

Wassily Kandinsky Improvisation No. 30 (Cannons), 1913 Art Institute of Chicago