Home Office Paintings: Quiet Cityscapes and Studies to Work Beside (page 3)

Structure and quiet: architecture, cityscapes, maps, and compositions that help you think.

Showing 97 to 144 of 403 paintings

Sparrow Hall, Winslow Homer, c. 1881-1882, oil on canvas

Winslow Homer Sparrow Hall, c. 1881-1882 National Gallery of Art

This nearly square, sketchy painting shows the interior of an empty courtyard, created in milky tones of oatmeal brown, ivory, muted brick red, eucalyptus green, and slate blue.

John Singer Sargent Pavement, Cairo, 1891 National Gallery of Art

This painting depicts a street scene from a slightly elevated perspective. A tan dirt road stretches into the distance, lined with white houses on the left side.

Alfred Sisley Marly-le-Roi, c. 1875 National Gallery of Art

Dozens of men with several women and a few children gather in pairs or small groups across a sun-drenched plaza in front of a domed church next to a long, pale pink building in this horizontal painting.

Canaletto The Square of Saint Mark's, Venice, 1742/1744 National Gallery of Art

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

A long haired, bearded man holds a whip and stands in the middle of a crowd of about two dozen people who stand or twist, all in a building with columns and arches in this horizontal painting.

El Greco Christ Cleansing the Temple, probably before 1570 National Gallery of Art

We look across a forested ravine painted in deep greens and blues at a terracotta-orange building at the top of a hill at the center of this nearly square, loosely painted landscape.

Paul Cézanne Château Noir, 1900/1904 National Gallery of Art

Through a golden haze and across an expanse of gently rippling water dotted with boats, ghostly ivory and parchment-white buildings rise along a distant shore in this loosely painted horizontal landscape.

Joseph Mallord William Turner The Dogana and Santa Maria della Salute, Venice, 1843 National Gallery of Art

A thin, narrow-shouldered woman holding a black shawl close to her body walks toward us down an alleyway past a pair of men wearing all black in this horizontal painting.

John Singer Sargent Street in Venice, 1882 National Gallery of Art

A row of spire-like structures of different heights is silhouetted in azure blue against a soft pink, yellow, peach, and lavender-purple sunset and reflected in a rippling river in this nearly square landscape painting.

Claude Monet The Houses of Parliament, Sunset, 1903 National Gallery of Art

Across a grassy field, a row of buildings and two trees line the horizon, which comes about halfway up this nearly square landscape painting.

Paul Cézanne Landscape near Paris, c. 1876 National Gallery of Art

A bearded man, a young man, and five monks stand in a cream-white hall hung with a map and paintings in this horizontal painting. The people all have pale, peachy skin.

Eugène Delacroix Christopher Columbus and His Son at La Rábida, 1838 National Gallery of Art

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

We look across a river at a bridge that spans the center of this horizontal landscape, which is painted entirely with broad, visible brushstrokes in muted blue, pink, and brown.

Claude Monet Waterloo Bridge, Gray Day, 1903 National Gallery of Art

We look down onto a wide, bustling, tree-lined avenue filled with buildings, people, and horse-drawn carriages in this horizontal painting.

Camille Pissarro Boulevard des Italiens, Morning, Sunlight, 1897 National Gallery of Art

Three women, one man, and a winged child gather near a cave opening within a vast, distant landscape in this horizontal painting. The people are small in scale, taking up the lower left quadrant of the composition, and all have pale skin.

Claude Lorrain The Judgment of Paris, 1645/1646 National Gallery of Art

We look across a glimmering river toward docks, about a dozen small boats, and a mustard-brown, boxy building under a bridge that crosses the width of the canvas in this horizontal landscape painting.

Claude Monet Bridge at Argenteuil on a Gray Day, c. 1876 National Gallery of Art

We look down onto a plaza with a sliver of a tall building rising along the left edge of the painting, a row of verdant, green trees to our right, and a row of buildings enclosing the space in the distance in this nearly square landscape…

Camille Pissarro Place du Carrousel, Paris, 1900 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

People and a horse-drawn wagon move along a street lined with buildings on the left and trees on the right in this loosely painted horizontal landscape. The wide street angles from the bottom left of the composition to the middle right.

Alfred Sisley Boulevard Héloïse, Argenteuil, 1872 National Gallery of Art

Two sailboats and a rowboat float on a glistening, azure-blue river spanned by a stone bridge to our right in this horizontal landscape painting.

Claude Monet The Bridge at Argenteuil, 1874 National Gallery of Art

An arched bridge faintly materializes in a haze of soft turquoise blue and mint green in this horizontal landscape painting. The bridge has four arches under a flat deck, and it extends off each side of the canvas.

Claude Monet Waterloo Bridge, London, at Dusk, 1904 National Gallery of Art

We look across a river at a bridge that spans the center of this horizontal landscape, which is painted entirely with broad, visible brushstrokes in pastel colors.

Claude Monet Waterloo Bridge, London, at Sunset, 1904 National Gallery of Art

We look across a river at a long, flat bridge that runs parallel to a hazy, city skyline in the distance in this horizontal painting.

Camille Pissarro Charing Cross Bridge, London, 1890 National Gallery of Art

We look slightly down onto and across a wide, boat-filled river under a cloudy sky at the far bank, which is lined with buildings, in this loosely painted, horizontal landscape.

James McNeill Whistler Battersea Reach, c. 1863 National Gallery of Art

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

View of Pirna with the Fortress of Sonnenstein, Bernardo Bellotto, c. 1760, oil on canvas

Bernardo Bellotto View of Pirna with the Fortress of Sonnenstein, c. 1760 Art Institute of Chicago

Mill of Pont Maupuit, Armand Guillaumin, c. 1900, oil on canvas

Armand Guillaumin Mill of Pont Maupuit, c. 1900 Art Institute of Chicago

The White Bridge, John Henry Twachtman, after 1895, oil on canvas

John Henry Twachtman The White Bridge, after 1895 Art Institute of Chicago

Wooded Landscape with Cottage and Horseman, Meindert Hobbema, 1663, oil on canvas

Meindert Hobbema Wooded Landscape with Cottage and Horseman, 1663 Art Institute of Chicago

A seascape painted in pastel tones, light-colored houses with red chimneys and light-green shutters in the foreground. The scene is set on a rocky, green hillside overlooking a blue sea with small sailboats.

Childe Hassam New England Headlands, 1899 Art Institute of Chicago

The Building of the Dam, Julian Alden Weir, 1908, oil on canvas

Julian Alden Weir The Building of the Dam, 1908 Cleveland Museum of Art

Portrait of Agostino Barbarigo, Paolo Veronese, after c. 1571, oil on canvas

Paolo Veronese Portrait of Agostino Barbarigo, after c. 1571 Cleveland Museum of Art

Pontifical Ceremony in Saints Giovanni e Paolo, Venice, 1782, Francesco Guardi, c. 1783, oil on canvas

Francesco Guardi Pontifical Ceremony in Saints Giovanni e Paolo, Venice, 1782, c. 1783 Cleveland Museum of Art

Valley of the Sédelle at Pont Charraud: White Frost, Armand Guillaumin, c.1903–1911, oil on fabric

Armand Guillaumin Valley of the Sédelle at Pont Charraud: White Frost, c.1903–1911 Cleveland Museum of Art

View of Bordeaux, from the Quai des Chartrons, Eugène Boudin, 1874, oil on fabric

Eugène Boudin View of Bordeaux, from the Quai des Chartrons, 1874 Cleveland Museum of Art

Harbor of Boston, with the City in the Distance, Fitz Henry Lane, c. 1846–47, oil on canvas

Fitz Henry Lane Harbor of Boston, with the City in the Distance, c. 1846–47 Cleveland Museum of Art

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

Bayside, New Rochelle, New York, Eastman Johnson, 1886, oil on canvas

Eastman Johnson Bayside, New Rochelle, New York, 1886 The Met

On the Unadilla, New York, Eastman Johnson, 1884, oil on canvas

Eastman Johnson On the Unadilla, New York, 1884 The Met

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

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

The Golden State Entering New York Harbor, Fitz Henry Lane, 1854, oil on canvas

Fitz Henry Lane The Golden State Entering New York Harbor, 1854 The Met

The Red Bridge, Julian Alden Weir, 1895, oil on canvas

Julian Alden Weir The Red Bridge, 1895 The Met

Pirna: The Obertor from the South, Bernardo Bellotto, mid-1750s, oil on canvas

Bernardo Bellotto Pirna: The Obertor from the South, mid-1750s The Met

Vaprio d'Adda, Bernardo Bellotto, 1744, oil on canvas

Bernardo Bellotto Vaprio d'Adda, 1744 The Met

The Hamlet of Optevoz, Charles-François Daubigny, ca. 1852, oil on canvas

Charles-François Daubigny The Hamlet of Optevoz, ca. 1852 The Met

Venice from the Bacino di San Marco, Francesco Guardi, ca. 1765–75, oil on canvas

Francesco Guardi Venice from the Bacino di San Marco, ca. 1765–75 The Met

Piazza San Marco, Francesco Guardi, late 1760s, oil on canvas

Francesco Guardi Piazza San Marco, late 1760s The Met