Ansicht von Neapel, Theil gegenüber des Vesuvs, genommen bey der Magdalenabrücke. Veduta di Napoli dalla parte, che guarda il Vesuvio presa dal ponte della Maddalena

A veduta, plural vedute, is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other landscape. The painters of vedute are referred to as vedutisti. Veduta was introduced by northern European artists, most likely Flanders who worked in Italy, such as Paul Brill (1554–1626), a landscape painter who produced a number of marine views and scenes of Rome that were purchased by visitors. Among the most famous of the vedutisti are four Venetians. Canaletto was probably the greatest of the vedutisti, produced Venetian architecture works. Giacomo Guardi (1678–1716), Giannantonio Guardi (1699–1760), and Francesco Guardi (1712–93), also produced a great number of views of Venice. Giovanni Pannini (c. 1691–1765/68) was the first artist to concentrate on painting ruins.

Starting in 1631, Vesuvius entered a period of steady volcanic activity, including lava flows and eruptions of ash and mud. Violent eruptions in the late 1700s, 1800s and early 1900s created more fissures, lava flows, and ash-and-gas explosions. These damaged or destroyed many towns around the volcano, and sometimes killed people; the eruption of 1906 had more than 100 casualties. The most recent eruption was in 1944 during World War II. It caused major problems for the newly-arrived Allied forces in Italy when ash and rocks from the eruption destroyed planes and forced evacuations at a nearby airbase.

The National Bibliothek in Vienna, the department Kartensammlung holds large collections of watercolor landscape paintings and prints of Italy.

Printmaking in woodcut and engraving came to Northern Italy within a few decades of their invention north of the Alps. Engraving probably came first to Florence in the 1440s, the goldsmith Maso Finiguerra (1426–64) used the technique. Italian engraving caught the very early Renaissance, 1460–1490. Print copying was a widely accepted practice, as well as copying of paintings viewed as images in their own right.