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The Hunt in the Forest, a.1470s by Paolo Uccello
Canvas Print - 17200-UCC

Location: Ashmolean Museum, Oxford, UK
Original Size: 73.3 × 177 cm

The Hunt in the Forest by Paolo Uccello (a.1470s) 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 16.2 × 41.3 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 Hunt in the Forest, a.1470s | Paolo Uccello | Giclée Canvas Print
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Giclée Canvas Print | $63.09 USD

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SKU:17200-UCC
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Print/Image Size
Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
16.2″ × 41.3″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 inches in borders beyond these dimensions 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 8.5 × 21.7 in print therefore arrives as 10.8 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 16.2 × 41.3 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 Paolo Uccello'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 73.3 × 177 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 centre at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Ashmolean Museum, Oxford, UK. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

This nocturnal hunting scene unfolds across a horizontal panel with theatrical precision. Aristocratic hunters in vibrant tunics of scarlet and ochre pursue their quarry through a darkened forest, accompanied by lean greyhounds that spring forward in synchronized motion. The riders, some bearing spears and others horns, create a rhythmic procession from left to right, while dismounted figures in the foreground direct the chase with animated gestures. The forest itself becomes a participant in this courtly ritual, its orderly rows of trees creating a stage-like setting for the unfolding drama.
The chromatic scheme operates through calculated contrasts. Against the deep blue-black of the forest floor, Uccello deploys a selective palette of warm tones—crimson doublets, russet horses, golden-brown hounds—that seem to glow with an internal light. The trees, rendered in muted greens with touches of gold leaf in their foliage, would have shimmered mysteriously in candlelight, enhancing the painting's intended domestic setting. This careful orchestration of color creates depth while maintaining the decorative quality essential to a spalliera panel.
Uccello's technical approach reveals his mathematical mind. Working on a prepared wooden panel, he established a precise perspectival grid before applying his pigments. The paint handling itself is meticulous rather than expressive, each figure crisply delineated, each tree trunk carefully modeled. This controlled technique serves his larger compositional ambitions, allowing him to balance naturalistic detail with the demands of decorative design.
The composition demonstrates Uccello's celebrated mastery of perspective. A central vanishing point, located deep within the forest, organizes the entire scene. Fallen logs, discarded branches, and the hunters' spears all align with this invisible architecture, creating measurable recession into space. Yet this mathematical framework never overwhelms the painting's ornamental function. The regular spacing of trees, the frieze-like arrangement of figures, and the overall symmetry transform scientific perspective into decorative pattern.
Created around 1470, possibly for an aristocratic residence in Urbino or Florence, the painting reflects the Renaissance fascination with ordering and measuring the natural world. Uccello, nicknamed for his skill in depicting birds and animals, here synthesizes his interests in mathematics, nature, and courtly culture. The hunt itself—a aristocratic ritual marked by crescent moons adorning the horses' trappings, invoking Diana's protection—becomes a metaphor for the period's broader pursuit of knowledge, an attempt to track meaning through the dark forest of experience.

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