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Academic Landscape Prints

ACADEMIC STYLE

During the Renaissance, the first European fine art academies were established in Italy and would guide the style and standards of visual culture in the following centuries. Academic art became dominant across the continent in the 17th century, with artists coming together to offer instruction in this style of painting and sculpture. 

The academic art period represented a significant change from the previous era when painters, sculptors and other artists were part of guilds and seen more as artisans than purveyors of culture. While patronage from the elite and the church remained pivotal, young artists were able to support themselves for the first time through academic exhibitions and an independent marketplace. The leading academies included the French Académie Royale de Peinture et de Sculpture founded in Paris in 1648 (which became the Académie des Beaux-Arts after the French Revolution) and the London Royal Academy of Arts formed in 1768 under the inaugural leadership of painter Joshua Reynolds. 

Academy students sketched drawings based on prints, sculptures and, finally, live models. Movements including neoclassicism and romanticism were particularly popular in these art schools and institutions where the influence of Raphael and Nicolas Poussin was prominent. Beaux Arts architecture and furniture design drew on these movements, too, and, as they also originated at the Académie des Beaux-Arts, the disciplines share common ground with academic painting and sculpture.

Although academic art was a major shift for artistic status when it began, by the middle of the 19th century it was viewed as stodgy and resistant to new ideas, with the subject matter of artists such as William-Adolphe Bouguereau and Jean-Léon Gérôme generally limited to allegorical or mythological themes. Impressionism, realism and the other movements that engaged with contemporary issues that followed were direct reactions to the academic tradition, although it continued to inform the avant-garde as artists like Gustav Klimt and Pablo Picasso started their practices as academic realists.  

Find a collection of academic paintings, sculptures, prints and more art on 1stDibs. 

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Style: Academic
“Paris, Place du Tertre”
“Paris, Place du Tertre”

Maurice Jacque“Paris, Place du Tertre”, Circa 1900

$360Sale Price|20% Off

“Paris, Place du Tertre”

Located in Southampton, NY

Original hand colored lithograph by the French artist, Maurice Jacque of the Place du Tertre in Montmartre Paris, France. Signed in lower right margin. Titled in lower left margin. ...

Category

Early 1900s Academic Landscape Prints

Materials

Archival Paper, Lithograph

Greek Architecture Blueprint of Ancient Amphitheatre Cyanotype Print, Watercolor
Greek Architecture Blueprint of Ancient Amphitheatre Cyanotype Print, Watercolor

Kind of CyanGreek Architecture Blueprint of Ancient Amphitheatre Cyanotype Print, Watercolor, 2021

$420

Greek Architecture Blueprint of Ancient Amphitheatre Cyanotype Print, Watercolor

By Kind of Cyan

Located in Barcelona, ES

This is an exclusive handprinted limited edition cyanotype. Details: + Title: Ancient Roman Amphitheater + Year: 2022 + Edition Size: 50 + Stamped and Certificate of Authenticity provided + Measurements : 70x100 cm (28x 40 in.), a standard frame size + All cyanotype prints...

Category

2010s Academic Landscape Prints

Materials

Photographic Film, Emulsion, Watercolor, C Print, Lithograph, Monotype, ...

“The Grand Canal, Venice”
“The Grand Canal, Venice”

Viscount Maidstone “The Grand Canal, Venice”, 1849

$450

“The Grand Canal, Venice”

Located in Southampton, NY

Venice, The Grand Canal, Illustrated London News: hand-colored wood engraving after drawings by Viscount Maidstone, published August 25, 1849 in The Illustrated London News, titled “...

Category

1840s Academic Landscape Prints

Materials

Archival Paper, Engraving

Three Gould Hand-colored Lithographs from Birds of Australia and New Zealand
Three Gould Hand-colored Lithographs from Birds of Australia and New Zealand

John GouldThree Gould Hand-colored Lithographs from Birds of Australia and New Zealand, 1840-1848

$3,175

Three Gould Hand-colored Lithographs from Birds of Australia and New Zealand

By John Gould

Located in Alamo, CA

Three hand-colored lithographs from John Gould's seven volume book "The Birds of Australia", which included New Zealand, depicting: pairs of "Eudyptes Chrysocome" (New Zealand Rock-hopper Crested Penguins), "Diomedea O Thalassarche Cauta" (Australian Shy Albatross) and "Sula Fusca" (Brown Gannets). These beautiful sea bird prints are presented in identical very attractive brown wood frames, embellished with gold highlights in the corners and gold inner trim, along with light cream-colored French mats, each with a medium cream-colored band and a gold highlight line. There is scattered spotting. There is a small tear in the lower right corner of the penguin lithograph...

Category

1840s Academic Landscape Prints

Materials

Lithograph

“On the Seine, Paris”
“On the Seine, Paris”

Oscar F. Wyman“On the Seine, Paris”, Circa 1900

$300Sale Price|20% Off

“On the Seine, Paris”

Located in Southampton, NY

Original aquatint engraving of working river barges on the Seine in Paris, France. A horse drawn cart is seen loading or unloading product. Circa 1900. ...

Category

Early 1900s Academic Landscape Prints

Materials

Paper, Mezzotint

“Paris-London”
“Paris-London”

Marianne L. Almasy“Paris-London”, 1985

$325Sale Price|34% Off

“Paris-London”

Located in Southampton, NY

Very nice original hand colored copper plate etching (aquatint) by the Hungarian born artist, Marianne L. Almasy. Depicts London with its double buses in the foreground and scenes of Paris in the background. Handwritten bottom left in pencil, original etching 206/295. Handwritten in pencil lower right, L. Marianne. Condition: Very good to excellent. Provenance: Sarasota, Florida estate. Certificate of authenticity verso (see photo). Professionally matted with a one inch solid oak frame in a medium walnut stain. Overall 24 by 19 inches. Marianne Almasy...

Category

1980s Academic Landscape Prints

Materials

Archival Paper, Etching

Canterbury Gate Cathedral
Canterbury Gate Cathedral

Preston CribbCanterbury Gate Cathedral, Early to Mid 20th Century

$350

Canterbury Gate Cathedral

By Preston Cribb

Located in New York, NY

Preston Cribb (English, 1876-1937) "Canterbury Gate Cathedral", Etching titled and signed in Pencil, 13.63 x 9.50 Framed (Image: 9.50 x 5.25), Early to Mid 20th Century Colors: Bla...

Category

Mid-20th Century Academic Landscape Prints

Materials

Etching

DY Cameron 19th c. European Village Etching
DY Cameron 19th c. European Village Etching

David Young CameronDY Cameron 19th c. European Village Etching, c. 1893

$740

DY Cameron 19th c. European Village Etching

By David Young Cameron

Located in New York, NY

D.Y. (David Young) Cameron (Scottish, 1865-1945) The Border Tower, c. 1893 Etching Sight: 9 x 13 1/4 in. Framed: 15 1/4 x 19 1/2 x 1/2 in. Signed in pencil lower right Cameron trained at the Glasgow and Edinburgh Schools of Art in the early 1880s and was at first associated with the Glasgow Boys. He became a leader in the Scottish etching...

Category

1890s Academic Landscape Prints

Materials

Etching

“Flower Seller, Notre Dame”
“Flower Seller, Notre Dame”

Marianne L. Almasy“Flower Seller, Notre Dame”, 1985

$396Sale Price|20% Off

“Flower Seller, Notre Dame”

Located in Southampton, NY

Very nice original hand colored copper plate etching (aquatint) by the Hungarian born artist, Marianne L. Almasy. Depicts a Parisian flower girl selling her bouquets with the iconic cathedral of Notre Dame. Handwritten bottom left in pencil, original etching 136/295. Handwritten in pencil by the artist lower right, L. Marianne. Condition: excellent. Provenance: Sarasota, Florida estate. Professionally matted with a one inch solid oak frame in a medium walnut stain. Overall 24 by 19 inches. Marianne Almasy...

Category

1980s Academic Landscape Prints

Materials

Archival Paper, Etching

“On the Seine, Paris”
“On the Seine, Paris”

Hans Figura“On the Seine, Paris”, Circa 1900

$475Sale Price|26% Off

“On the Seine, Paris”

By Hans Figura

Located in Southampton, NY

Original aquatint etching of working river barges on the Seine in Paris, France. A horse drawn cart is seen loading or unloading product. Circa 1900. Si...

Category

Early 1900s Academic Landscape Prints

Materials

Archival Paper, Aquatint

“Returning Home”
“Returning Home”

Hermanus Jan Hendrik Rijkelijkhuysen“Returning Home”, Circa 1875

$520Sale Price|20% Off

“Returning Home”

By Hermanus Jan Hendrik Rijkelijkhuysen

Located in Southampton, NY

Original etching on Ingres laid paper (watermarked, see last photograph) attributed to the hand of the well known Dutch artist, Hermanus Jan Hendrik Rijkelijkhuysen. No visible signature. Sheet size 9.25 by 12 inches. Sight size 7 by 9 inches. Under glass. Circa 1875. Condition is excellent. Professionally matted and framed in a walnut colored frame with gold leaf edge. Overall framed measurements are 12.75 by 14.5 inches. Gallery label verso. Provenance: A Sarasota, Florida collector. Biography: Hermanus Jan Hendrik Rijkelijkhuysen (1813-1883) was a landscape painter and etcher. Rijkelijkhuysen spent most of his life working in the vicinity of his birthplace Utrecht. Inspired by the polders on the one hand and the Utrechtse Heuvelrug on the other, he mainly painted and etched water...

Category

1870s Academic Landscape Prints

Materials

Laid Paper, Etching

"Winter Wildfowling" Frank Weston Benson, Hunting Scene, Outdoors, Marshes
"Winter Wildfowling" Frank Weston Benson, Hunting Scene, Outdoors, Marshes

Frank Weston Benson"Winter Wildfowling" Frank Weston Benson, Hunting Scene, Outdoors, Marshes, 1927

$4,500

"Winter Wildfowling" Frank Weston Benson, Hunting Scene, Outdoors, Marshes

By Frank Weston Benson

Located in New York, NY

Frank Weston Benson Winter Wildfowling, 1927 Signed lower left Etching on paper Image 8 1/2 x 7 inches Born in Salem, Massachusetts, a descendant of a long line of sea captains, Benson first studied art at Boston’s Museum School where he became editor of the student magazine. In 1883, Benson enrolled at the Académie Julian in Paris where artists such as Bouguereau, Lefebvre, Constant, Doucet and Boulanger taught students from all over Europe and America. It was Boulanger who gave Benson his highest commendation. “Young man,” he said, “Your career is in your hands . . . you will do very well.” Benson’s parents gave him a present of one thousand dollars a twenty-first birthday and told him to return home when it ran out. The money lasted long enough to provide Benson with two years of schooling in Paris, a summer at the seaside village of Concarneau in Brittany and travel in England. Upon returning to America, Benson opened a studio on Salem’s Chestnut Street and began painting portraits of family and friends. An oil of his wife, Ellen Perry Peirson, dressed in her wedding gown is representative of this period. It demonstrates not only the academic techniques he learned at the Academie Julian but also his own growing emphasis on the effects of light. And yet, despite all the technical mastery displayed in the work, the painting exudes the warmth that existed between model and artist. More than a likeness, it is a study in serenity. Perhaps it was of a work such as this that Benson was thinking when he said, “The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though it is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well.” Following a brief stint as an instructor at the Portland, Maine, Society of Art, Benson was appointed as instructor of antique drawing at the Museum School in Boston in the spring of l889. Benson’s long association with the school was particularly fruitful. Under the leadership of Edmund Tarbell and Benson the Museum School became a national and internationally recognized institution. The students won numerous prizes, enrollment tripled, a new school building was erected and visiting delegations from other schools sought the secret of their success. Benson cherished his role as teacher and was held in high esteem by his students, many of whom called him “Cher Maitre.” Reminiscing about his long career with the school Benson once said, “I may have taught many students, but it was I who learned the most.” In 1890, Benson won the Hallgarten Prize at the National Academy in New York. It was the first of a long series of awards, that earning for him the sobriquet “America’s Most Medalled Painter.” In the early years of his career, Benson’s studio works were mostly portraits or paintings of figures set in richly appointed interiors. Young women in white stretch their hands out towards the glow of an unseen fire; girls converse on an antique settee in a room full of objets d’arts; his first daughter, Eleanor, poses with her cat. Works of this sort, together with a steady influx of portrait commissions, earned Benson both renown and financial rewards, yet it was in his outdoor works that gave Benson his greatest pleasure. In the latter half of the 1890s, Benson summered in Newcastle, on New Hampshire’s short stretch of seacoast. It was here, in 1899, that Benson made his first foray into impressionism with Children in the Woods and The Sisters, the latter a sun-dappled study of his two youngest daughters, Sylvia and Elisabeth. This painting was one of the first works that Benson hung at an exhibition with nine friends. The resignation of these ten illustrious artists rocked the American art establishment but, the catalogue for their first exhibition was titled, simply, “Ten American Painters.” When, in 1898, the three Bostonians and seven New Yorkers began to exhibit their best work in exquisitely arranged small shows, the group (dubbed by newspapers, “The Ten” ) quickly became known as the American Impressionists, a bow to the style of their French predecessors. The Ten’s annual shows soon became an eagerly awaited part of the annual exhibition calendar and were always well reviewed. Held annually in New York City, the group’s yearly exhibitions usually traveled to Boston and were occasionally seen in other cities. Benson’s association with other members of the group such as Childe Hassam, Thomas Dewing, William Merrit Chase and J. Alden Weir, only reinforced his growing emphasis on the tenets of Impressionism. As he later said to his daughter Eleanor, “I follow the light, where it comes from, where it goes.” The principles of Impressionism began to dominate Benson’s work by 1901, the year that the Bensons first summered on the island of North Haven in Maine’s Penobscot Bay. His summer home “Wooster Farm,” which they rented and finally bought in 1906, became the setting for some of Benson’s best known work and there, it seemed, he found endless inspiration. Benson’s sparkling plein-air paintings of his children–Eleanor, George, Elisabeth and Sylvia–capture the very essence of summer and have been widely reproduced: In The Hilltop, George and Eleanor watch the sailboat races from the headland near their house. As a boy, Benson dreamed of being an ornithological illustrator. In mid-life, he returned to the wildfowl and sporting subjects that had remained his lifelong passion. Using etching and lithography, watercolor, oil and wash, Benson portrayed the birds observed since childhood and captured scenes of his hunting and fishing expeditions. Together with his two brothers-in-law, Benson bought a small hunting retreat on a hill overlooking Cape Cod’s Nauset Marsh. Here, in the late 1890s, he began experimenting with black and white wash drawings. These paintings became so popular that Benson was not able to keep up with the demand. He turned to an art publishing company to have several made into it intaglio prints; twelve wash drawings are known to have been reproduced in this manner. At least two of them were given as gifts to associate members of the Boston Guild of artists, of which Benson was a founding member. Benson was also an avid fisherman and his salmon fishing expeditions to Canada’s Gaspé Peninsula where one of the high points of his summer. There, in 1921, he began the first in a series of watercolors that would eventually over 500 works. Benson’s watercolors conveyed the joy and beauty of a sportsman’s life whether in a painting of a hunter setting out decoys, a flock of ducks coming in for a landing or a grouse flushed from cover. The critics favorably compared Benson’s watercolors to those of Homer. “The love of the almost primitive wilderness which appears in many of Homer’s landscapes and the swift, sure touch with which he suggests rather than describes–these also characterize Benson’s work,” one critic wrote. “The solitude of the northern woods is very much like Homer’s.” Like the wash drawings before them, Benson’s watercolors proved...

Category

1920s Academic Landscape Prints

Materials

Paper, Etching

17th Century map of Cumberland, UK by Robert Morden
17th Century map of Cumberland, UK by Robert Morden

17th Century map of Cumberland, UK by Robert Morden

$384

17th Century map of Cumberland, UK by Robert Morden

Located in Petworth, West Sussex

Robert Morden (British, circa 1650 – 1703) A map of Cumberland with hand colouring An engraving 14.1/4 x 16.5/8 in. (36.5 x 42.5 cm.)

Category

17th Century Academic Landscape Prints

Materials

Engraving

Ballochbuie, Balmoral, April - Signed Lithograph, Royal Art, Scotland, forest
Ballochbuie, Balmoral, April - Signed Lithograph, Royal Art, Scotland, forest

His Majesty King Charles IIIBallochbuie, Balmoral, April - Signed Lithograph, Royal Art, Scotland, forest, 2002

$13,722

Ballochbuie, Balmoral, April - Signed Lithograph, Royal Art, Scotland, forest

By His Majesty King Charles III

Located in Knowle Lane, Cranleigh

Ballochbuie, Balmoral, April by HM King Charles III - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated with the artworks of HIs Majesty...

Category

Early 2000s Academic Landscape Prints

Materials

Lithograph

A set of Biblical prints after the Dutch painter and engraver Gerard Hoet
A set of Biblical prints after the Dutch painter and engraver Gerard Hoet

Gerard HoetA set of Biblical prints after the Dutch painter and engraver Gerard Hoet, c.1700

$16,466

A set of Biblical prints after the Dutch painter and engraver Gerard Hoet

By Gerard Hoet

Located in London, GB

The present collection is a set of 131 prints after Gerard Hoet, the Dutch golden age painter and engraver, depicting various biblical scenes. Hoet was a leading artist in the Classicizing Dutch Academic style, and his work is defined by history paintings, with a particular interest in mythological, classical, historical, and biblical scene, in particular Old testament scenes...

Category

Early 1700s Academic Landscape Prints

Materials

Paper, Ink, Black and White, Engraving

Composition, Description of a Masque, Jane Freilicher
Composition, Description of a Masque, Jane Freilicher

Jane FreilicherComposition, Description of a Masque, Jane Freilicher, 1998

$1,436Sale Price|20% Off

Composition, Description of a Masque, Jane Freilicher

By Jane Freilicher

Located in Southampton, NY

Woodcut on vélin Tosa Hanga à la main paper. Paper Size: 16 x 12 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Description of a Masque, 1998. Publis...

Category

1990s Academic Landscape Prints

Materials

Woodcut

Composition, Description of a Masque, Jane Freilicher
Composition, Description of a Masque, Jane Freilicher

Jane FreilicherComposition, Description of a Masque, Jane Freilicher, 1998

$1,436Sale Price|20% Off

Composition, Description of a Masque, Jane Freilicher

By Jane Freilicher

Located in Southampton, NY

Woodcut on vélin Tosa Hanga à la main paper. Paper Size: 16 x 12 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Description of a Masque, 1998. Publis...

Category

1990s Academic Landscape Prints

Materials

Woodcut

Composition, Description of a Masque, Jane Freilicher
Composition, Description of a Masque, Jane Freilicher

Jane FreilicherComposition, Description of a Masque, Jane Freilicher, 1998

$1,436Sale Price|20% Off

Composition, Description of a Masque, Jane Freilicher

By Jane Freilicher

Located in Southampton, NY

Woodcut on vélin Tosa Hanga à la main paper. Paper Size: 16 x 12 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Description of a Masque, 1998. Publis...

Category

1990s Academic Landscape Prints

Materials

Woodcut

Sandringham - Signed Lithograph, Royal Art, Royal Homes, Sandringham House
Sandringham - Signed Lithograph, Royal Art, Royal Homes, Sandringham House

Charles (Prince of Wales)Sandringham - Signed Lithograph, Royal Art, Royal Homes, Sandringham House, 1992

Price Upon Request

Sandringham - Signed Lithograph, Royal Art, Royal Homes, Sandringham House

By Charles (Prince of Wales)

Located in Knowle Lane, Cranleigh

Sandringham by HRH Prince Charles, The Prince of Wales - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated with the artworks of HRH The P...

Category

1990s Academic Landscape Prints

Materials

Lithograph

Balmoral - Signed Lithograph, Royal Art, Royal Homes, Balmoral Castle, British
Balmoral - Signed Lithograph, Royal Art, Royal Homes, Balmoral Castle, British

Charles (Prince of Wales)Balmoral - Signed Lithograph, Royal Art, Royal Homes, Balmoral Castle, British, 1991

Price Upon Request

Balmoral - Signed Lithograph, Royal Art, Royal Homes, Balmoral Castle, British

By Charles (Prince of Wales)

Located in Knowle Lane, Cranleigh

Balmoral by His Majesty King Charles III (formerly known as HRH Prince Charles, The Prince of Wales) - Hand Signed Limited Edition Lithograph. Belgravia Gallery has been honoured to be associated with the artworks of HRH The Prince of Wales for over 25 years. Anna Hunter, gallery owner, wrote a handwritten letter to the Prince asking him if he would consider making signed lithographs from his beautiful watercolours which could be sold in aid of his charities. The gallery subsequently worked with the Prince for over 10 years publishing some 18 different editions and raising over £4million for the Prince’s Charitable Foundation. Lithographs were made from the Prince’s original watercolours under the guidance of Stanley Jones – a celebrated printmaker who had previously worked with Henry Moore for 30 years, and with Elizabeth Frink, David Hockney and others. Each one is hand-signed. “…One thing I have discovered in the course of my painting efforts is that Balmoral Castle...

Category

1990s Academic Landscape Prints

Materials

Lithograph

Academic landscape prints for sale on 1stDibs.

Find a wide variety of authentic Academic landscape prints available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add landscape prints created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Dionisio Moretti, Jean Michel Mathieux-Marie, Philippe Benoist, and Albert Brenet. Frequently made by artists working with Lithograph, and Etching and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Academic landscape prints, so small editions measuring 9 inches across are also available. Prices for landscape prints made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $216 and tops out at $20,450, while the average work sells for $950.

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