You can find examples of Edwin Henry Landseer's work in several museums. In the United Kingdom, these include the Brighton Museum & Art Gallery (located in the Royal Pavilion Gardens), the Geffrye Museum (Kingsland Road, London), the Manchester Art Gallery (Mosley Street), the National Museums of Scotland (Royal Museum, Chambers Street, Edinburgh), and the Victoria & Albert Museum (Cromwell Road, London). In the United States, museums holding Landseer's art include the Charles Hosmer Morse Museum of American Art (Winter Park, Florida), the Los Angeles County Museum of Art, the Metropolitan Museum of Art (New York), the Minneapolis Institute of Arts, the Museum of Modern Art (New York), the Virginia Museum of Fine Arts (Richmond), and the Wolfsonian at Florida International University (Miami Beach). Landseer's work can also be seen at the Royal Ontario Museum in Toronto, Canada.

Edwin Landseer was a painter and draughtsman, best known for his images of animals, particularly dogs, horses, and stags. During his lifetime, and after his death, prints were made after his popular paintings. These reproductions allowed wider audiences to own and appreciate his work. Many of Landseer's popular paintings were reproduced as engravings. These include "The Monarch of the Glen" (1851^[1]), a painting of a red deer stag, and "Dignity and Impudence" (1839), showing a bloodhound and a terrier. These were reproduced as monochrome prints, and sold to a broad audience. Some of Landseer's paintings were also reproduced using other printmaking methods, such as lithography. These allowed for the reproduction of a wider range of tones and colours. Some of these were hand-coloured, adding to their appeal. Queen Victoria, who was a patron of Landseer, owned many of his paintings and prints. Original prints by Landseer are less common than reproductions after his paintings. He produced a small number of etchings and engravings himself, often of animals. These are highly sought after by collectors.

Edwin Landseer (1802^[1]-1873^[1]) was popular in his day for imbuing animals with human emotions, something that appealed to Victorian tastes. His father, an engraver, taught him to sketch animals; Landseer first exhibited at the Royal Academy at only twelve years old. Landseer is known for the bronze lions at Trafalgar Square. He painted animals, such as horses, dogs, and stags, and Queen Victoria and Prince Albert commissioned portraits with their pets. One of his most recognisable paintings is *Dignity and Impudence*. His paintings of dogs were so admired that "Landseer" became the name for a black and white Newfoundland dog. His brother Thomas was an engraver of Edwin's paintings. Edwin felt that Thomas deserved the benefit of his signature because Thomas engraved his work. Thomas produced 108 different editions of his brother’s paintings. In 1842^[1], Queen Victoria selected George Doo as her Historical Engraver, and she and Albert began etching lessons with Edwin Landseer.

Edwin Henry Landseer was primarily an oil painter. Analysis of British^[1] paintings from 1775-1875^[1] indicates the period saw the introduction of new pigments, and modified paint media. J.M.W. Turner, a contemporary of Landseer, spent a decade as a watercolourist and transferred many techniques to his oil painting. Turner favoured light-toned, absorbent surfaces. He also used new application techniques and pigments in both media at roughly the same time. Some eighteenth-century artists used white grounds to lend luminosity to their oil paintings. After 1820^[1], more British artists tended to use white grounds. Turner used white primings for many of his oils, both exhibited and unfinished, in the first decade of the nineteenth century; in later decades most of his supports had white grounds. Constable, another contemporary, made preliminary sketches and oil studies before painting. He then made a pencil under-drawing and established the masses with washes of subdued colour. A thin but opaque building-up of the surface commenced, with details added. Glazings of burnt red lakes and transparent earths were used to add depth and richness to shadows and foreground. Freely knifed and brushed touches of off-white were used to give the quality of reflective light and sparkling of waves.

Edwin Landseer's animal paintings and drawings had a considerable effect on subsequent artists, particularly those specialising in animal subjects. His anthropomorphic style, which gave animals human-like qualities and emotions, proved popular and was widely imitated. Queen Victoria and Prince Albert were enthusiastic patrons of Landseer, commissioning many works and popularising his style among the upper classes. This royal approval increased his visibility and influence. Later animal painters, such as Briton Rivière, incorporated similar sentimental and narrative elements into their work. Rivière's paintings, like Landseer's, often depicted animals in dramatic or emotional situations, appealing to Victorian sensibilities. Furthermore, Landseer's commercial success, demonstrated by the widespread reproduction of his works as engravings, made his style accessible to a broad audience. This accessibility allowed his artistic approach to permeate popular culture and affect the work of illustrators and other commercial artists, solidifying his position as a significant figure in the development of animal painting.

Edwin Landseer's artistic development benefited from several influences, including his father, an engraver, who taught him to sketch animals from life. He was only twelve when he first exhibited at the Royal Academy. Landseer's work appealed to Victorian tastes by endowing animals with human emotions. He was inspired by Sir Walter Scott, and he painted animals and scenes that he thought might be threatened. Queen Victoria favoured him, and he is well known for the bronze lions in Trafalgar Square. While not a direct influence, Landseer was part of a broader artistic environment. Figure painters gradually desired more daylight effects in their paintings, differentiating themselves from schools less attracted to nature's teaching. One writer noted Landseer's facility, but felt his animal paintings lacked action and firm structure.

Sir Edwin Landseer (1802^[1]-1873^[1]) was a British^[1] artist known for his paintings and sculptures of animals. He was particularly popular with Queen Victoria, who commissioned him to paint portraits of her with her pets. Landseer's animal paintings often depicted them with human-like emotions, which appealed to Victorian tastes. His most famous works include the bronze lions at the base of Nelson's Column in Trafalgar Square, London. Landseer also painted horses, dogs, and stags. One of his most recognised paintings is *Dignity and Impudence*, which depicts two dogs, a bloodhound named Grafton and a West Highland terrier named Scratch. Landseer's paintings of dogs were greatly admired; a black and white Newfoundland dog is named after him.

Edwin Henry Landseer was a painter working during the Romantic era, which broadly spanned from 1800 to 1850^[1]. Romanticism^[1] as a movement followed the Neoclassical period; it saw artists favouring emotion and intuition rather than rational objectivity. As the German Romantic painter Caspar David Friedrich stated, the artist should depict what he sees within himself, not only what is before him. Romanticism gained its name from a renewed interest in medieval tales, termed romances. 'Gothic' horror stories, combining the macabre and occult, were fashionable, as was Gothic Revival architecture. Another aspect of Romanticism was its focus on nature. Painters such as Turner and Constable elevated the status of depictions of the natural world by giving such scenes heroic qualities. Both man and nature were viewed as touched by the supernatural, and one could access this inner divinity by relying on instinct.