Countess Mordvinov's Forest, 1891 by Ivan Ivanovich Shishkin
Canvas Print - 13550-SHS

Location: The Tretyakov Gallery, Moscow, Russia
Original Size: 81 × 108 cm

Countess Mordvinov's Forest by Ivan Shishkin (1891) 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 19.4 × 26 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.

Giclée Canvas Print | $69.83 USD

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SKU:13550-SHS
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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19.4″ × 26″

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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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 16.1 × 21.7 in print therefore arrives as 18.5 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 19.4 × 26 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 Ivan Shishkin'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 81 × 108 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 The Tretyakov Gallery, Moscow, Russia. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

Here we encounter Shishkin at his most contemplative, presenting a forest interior that speaks less of botanical accuracy than of profound emotional resonance. The scene depicts a solitary figure traversing the depths of a coniferous forest, presumably within the grounds of Countess Mordvinova's estate at Peterhof. The human presence, rendered in dark clothing against the verdant surroundings, appears neither as intruder nor observer, but as an organic element within the natural order—a walker absorbed into the forest's encompassing embrace.
The chromatic arrangement reveals Shishkin's mature understanding of tonal relationships. Rather than mere transcription of nature's greens, we find an orchestrated symphony of viridian variations—from the deep, almost black-green shadows pooling at the base of tree trunks to the lighter, yellowed greens where filtered sunlight touches the moss-covered ground. These golden interruptions, glimpsed through the canopy, provide crucial atmospheric relief without disrupting the painting's prevailing sense of enclosure. The forest floor itself becomes a tapestry of browns, russets, and muted ochres, suggesting the perpetual cycle of growth and decay.
Shishkin's brushwork demonstrates remarkable restraint and purpose. The vertical trunks, rendered with assured strokes, establish a measured rhythm across the canvas—not the rigid meter of planted woodland but the organic spacing of natural growth. His treatment of the needle-laden branches shows particular sensitivity, avoiding the trap of over-delineation that might reduce them to mere botanical specimens. Instead, they merge and separate in soft focus, creating pockets of mystery within the composition.
The spatial construction draws us inexorably into the forest's heart. The placement of trees creates a natural pathway, leading the eye from the illuminated foreground deeper into shadow. This compositional device, while seemingly effortless, reveals careful calculation—each trunk positioned to guide without constraining, to suggest infinite depth while maintaining pictorial coherence.
Created during Shishkin's late period, when his explorations of Russia's forests had evolved from documentary precision toward something more elegiac, this work exemplifies his ability to infuse landscape with psychological dimension. The forest becomes not merely a location but a state of being—contemplative, enveloping, timeless.

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