Max Beckmann is one of the titans of modern art, although he considered himself the last of the Old Masters. This publication examines the artist´s landscape paintings, which are not characterized by layers of allegorical meaning, as are his works in other genres, and their splendid painterly qualities are instantly perceptible. One of the foundations for these landscapes is the potent experience of nature. Personal objects belonging to Beckmann frequently appear in the foreground, like remnants of still lifes, making the viewer aware of the artist´s presence. On the other hand, the paintings are realistic reproductions of places he visited, for which Beckmann also made reference to photographs or postcards. A third artistic idea came from art itself: flashes of Beckmann´s immense knowledge of art history can be seen in his citations of other works. Thus, his landscapes can be regarded as a kind of summation of his understanding of the world.