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The Sea at Koktebel, 1853 by Ivan Konstantinovich Aivazovsky
Canvas Print - 44-AYV

Location: I. K. Aivazovsky Museum, Feodosia, Ukraine
Original Size: 85 × 121 cm

The Sea at Koktebel by Aivazovsky (1853) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 17.3 × 24 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

The Sea at Koktebel by Ivan Konstantinovich Aivazovsky, 1853 - canvas print
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Giclée Canvas Print | $83.07 USD

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SKU:44-AYV
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
17.3″ × 24″

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 17.3 × 24 in print therefore arrives as 19.7 × 26.4 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 17.3 × 24 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Aivazovsky's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 85 × 121 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in I. K. Aivazovsky Museum, Feodosia, Ukraine. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Aivazovsky’s "The Sea at Koktebel" feels like a sweeping, over-the-top melodrama - the kind you can’t help but get sucked into. If there's one thing Aivazovsky knew how to do, it’s crank the drama up to 11. He practically invented the blockbuster seascape. And here we are, faced with this moody, storm-laden vista where the sun doesn’t so much set as it explodes across the horizon in a fiery blaze.

Look at that ship - it’s a wreck, isn’t it? Flailing there, caught mid-battle with the waves, almost pathetic in its defeat. Aivazovsky clearly had a love affair with water, and here, he’s reveling in it. The sea churns and tosses with masterfully chaotic strokes - you can practically feel the weight of the water he’s slapping on with his brush. The colors are bold, too. You’ve got these luminous, almost neon greens in the sea, smashing up against the glowing golds of the sunset. But then, just to keep us on our toes, there’s that patch of deep, moody blue creeping up in the sky, where a sliver of moon hangs awkwardly, like it's gatecrashed the wrong party.

The composition is classic Aivazovsky - all about contrasts. That small, vulnerable boat on the shore feels like a sad echo of the dying ship out at sea, a bit of a last-ditch attempt to ground the scene in some form of reality. But let’s be real - Aivazovsky was never interested in realism. He was a showman, and this piece? It’s pure spectacle. All light and movement, pushing the boundaries of what’s plausible, because why let reality get in the way of a good story? It’s all about the thrill of the moment, and Aivazovsky knew how to milk it.

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