Countess Mordvinov's Forest, 1891 Ivan Ivanovich Shishkin (1832-1898)

Location: The Tretyakov Gallery Moscow Russia
Original Size: 81 x 108 cm
Countess Mordvinov's Forest, 1891 | Ivan Shishkin

Oil Painting Reproduction

$1667 USD
Condition:Unframed
SKU:SHS-13550
Painting Size:27.6 x 35.8 in

If you want a different size than the offered

Description

Completely Hand Painted
Painted by European Аrtists with Academic Education
Museum Quality
+ 4 cm (1.6") Margins for Stretching
Creation Time: 8-9 Weeks
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We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Ivan Ivanovich Shishkin also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Countess Mordvinov's Forest is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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Over 20 Years Experience
Only Museum Quality

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

A carpet of lichen‑softened moss leads the eye into a cathedral of fir and spruce, their tapering trunks rising like pillars toward an unseen vault of foliage. A lone elderly figure, wrapped in a dark great‑coat and leaning on his stick, pauses at the lower left, scarcely more than another element of the forest floor. Sunlight filters in thin corridors, illuminating a scatter of russet needles and glimmers of young saplings, yet the dominant sensation is hushed, recessive depth.

Shishkin’s chromatic language is a fugue in greens, from olive and bottle to the blue‑tinged shadows deep within the stand. Occasional streaks of sienna and ochre catch the slanting evening light, lending warmth without disturbing the prevailing coolness. These controlled variations keep the eye moving, encouraging a slow absorption rather than a glance, while the sparse golden sky, glimpsed high between the branches, infuses the scene with subdued radiance.

At close range the painter’s celebrated technique becomes evident: a finely layered weave of transparent glazes and minute, almost calligraphic touches that differentiate bark, moss, and needle. The brushwork is neither ostentatious nor laboured; instead it models form through steady accretion, achieving both botanical precision and atmospheric permeability. Pigment is allowed to breathe, so that air seems to circulate among the trunks, carrying resinous scent and cooling shade.

Compositionally, the painting relies on the measured cadence of verticals—an intuitive orchestration of interval and scale. Broad trunks anchor the foreground, slimmer ones recede in calibrated diminution, and a diagonal clearing pulls vision diagonally toward the distant, half‑lit interior. The lone walker is positioned just off‑centre, reinforcing the sense that humankind here is provisional, dwarfed by the slow time of the forest.

Executed in the final decade of Shishkin’s life, when he roamed the estates around St Petersburg in search of new motifs, the canvas reflects the mature phase of Russian realist landscape. Although aligned with the Itinerants’ democratic ethos, Shishkin eschews overt narrative; instead he articulates a national sublimity through empirical observation. Exhibited at the Academy in 1891 and promptly acquired by Tretyakov, the work testifies to an era that valued the vernacular grandeur of native woods as a repository of cultural identity.

What lingers is a sensation of equilibrium: nature rendered with forensic clarity yet offered as a contemplative refuge. The forest shelters the old man, but it also transcends him, sustaining a silent music of light, space, and growth that unfolds beyond human witness.
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