Max Beckmann is regarded in the art history of the 20th century as a "painter-philosopher," whose content-rich works primarily address ideological questions. The area of landscape painting, which constitutes almost a third of his overall work, has so far been largely overlooked in research. This study investigates the reasons that led to the exclusion of such an important area in the artist's oeuvre. Beckmann's landscape painting is examined within a chronological framework for its expressiveness and artistic development. Following this, the painter's theoretical understanding of nature is presented in relation to tradition and contemporary intellectual history. A confrontation with the visual statements leads to a new perspective on the relationship between concept and design in the artist's work. The central themes in Beckmann's landscape painting, such as the construction of tensions, the idea of world creation in the artwork, and the inclusion of the viewer, are introduced. A concluding chapter addresses the question of the modernity of Beckmann's landscape representations.