With this master’s thesis a task was undertook to showcase artistic endeavours of artists and amateurs alike, that have contributed to the wide theme of landscape painting in the long nineteenth century. One of the main aims of the thesis is collecting the body of work of landscape painting that was created in the long nineteenth century and that is part of the artistic heritage of modern-day Croatia. Alongside collecting knowledge regarding a topic that hasn’t been extensively researched in Croatian art history, having taken form of a review or overview this thesis enables insight into social profiles, the persona of the artist and painting itself, accentuating individual experiences of each artist with landscape painting alongside collective interpretations of individual examples of landscape painting. With thus being said, the approach to the primary material from the perspective of contemporary art history is accentuated, with sensibility for mutual correlation between everyday culture and any human activity, painting included, but also critical of its own traditional approaches. By trying to put landscape painting in an interpretative frame, an indirect contribution has also been made to the re-evaluation of landscape painting in art history and art itself, as a legitimate theme for artistic expression as well as for scientific research. Given the tendency for establishing a relationship between art and its apparent time and space, the thesis starts by defining the timeline of the long nineteenth century, alongside its explanation, after which an overview of the specificities of the territories and their histories are made apparent, given their direct or indirect effect on art. Contextualization is finalized through a brief overview of the nineteenth century Croatian art scene, which serves as a conclusion of the aforementioned characteristics of set time and space, whereupon attention is turned to landscapes as an art theme, their trajectory through history towards nineteenth century art and their reception then, and finally their interpretation with regard to the previously set context. Such interpretation allowed further inquiry into landscape painting as the central theme of this thesis, both in the light of individual efforts of artists and amateurs in landscape painting, as well as collective comparison and interpretation of artwork with regards to the context in which they were created. The idea of a comprehensive and thorough approach imposed a need to also mention painters whose landscapes haven’t been included in the thesis, as well as those whose work exceeds set time frame, whose mention concludes the thesis.