The artistic sublimation of nature into landscape presupposes a separation between nature and its beholder. Only when we can observe nature from the safety of civilization can we enjoy it for its beauty as well as for its ominous and dangerous qualities. However, this separation comes at a price. As early as 1757 Salomon Gessner laments the “unglykliche Entfernung von der Natur” (unfortunate distancing from nature), and a decade later Denis Diderot was the first to observe that city dwellers put up landscape images in their urban salons to compensate for the loss of nature in their daily lives. Art stepped into this ever-widening gap between us and a nature that was more and more exploited and often even destroyed. It was able to play this role so successfully that when Jacob Burckhardt was commissioned to write the entry on “landscape painting” for the ninth edition of Brockhaus’ Real-Encyklopädie in 1845, he described the “wilde Regellosigkeit” (wild unruliness) of the genre. In whatever limited way, the variety of prints presented here are meant to serve as a reflection of these artistic developments in the medium of print.