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他出生加布里埃尔·科尼利厄斯最大，雕塑家的儿子约瑟夫·马克斯与安娜舒曼。他1855年和1858年间就读于艺术学院布拉格与爱德华·冯·Engerth。他的研讨 包括超心思 学（梦游，催眠术，招魂术），达尔文主义，亚洲理念，思想叔本华和各种神秘传统。属灵的神秘主义运动是由著作强调卡尔·杜PREL和慕尼黑画家阿尔伯特·凯勒也有影响。[1]
他的第1 个大帆布于1858手绘，而他是一位 先生 在布拉格学院。他继续他的研讨 在艺术科学院维也纳与卡尔冯BLAAS，卡尔迈耶，基督教鲁本与卡尔Wurzinger。从1863年至1867年，他就读于慕尼黑学院与卡尔·西奥多·冯·Piloty，也是汉斯·马卡特和弗朗茨德弗雷格尔。他的第1 个关键的成功是在1867年的油画“烈士在十字架”：Piloty的绘画改变了“Unglücksmalerei”（暗调色）为使用其主体的心思 渲染宗教的神秘主义的意味 。
他继续使用的调色板暗Piloty学校顺利进入19世纪70年代，后来走向1 种更为柔和的调色板挪动 ，使用更少，更清晰的色彩。从1869年，加布里埃尔·冯·马克斯有他的工作室在慕尼黑; 在夏天，他在施塔恩贝格湖湖Ammerland的。从1879年至1883年，加布里埃尔马克斯是在慕尼黑学院历史画教授; 他同样成 为院士的接神社会。1900年，他被封为贵族，并成为特尔。他在慕尼黑1915年去世。
他在人类学研讨 的兴味 也表如今 他的工作。他具有 史前民族学和人类学的发现了大量的科学采集：采集和他的函件 ，如今 居住在赖斯-的Engelhorn-Museen在曼海姆。在他在施塔恩贝格湖湖小公馆，加布里埃尔马克斯本身 置身于1 个家庭的猴子，这是他常画的，有时他们描绘人类。马克斯，与他的同事一同 ，经常用照片来指点 绘画。在他的存档照片，猴子的大量证明本身 直接翻译成他的画作中使用。1908年，他的作品“狮子的新娘”成为庆祝，并在电影被描绘成1 个HOMMAGE在格洛丽亚·斯旺森电影，男性和女性，（1919年），执导塞西尔·德米尔。
加布里埃尔·冯·马克思是从Piloty学校出现1 个明显 的艺术家，由于 他抛弃了Grunderzeitliche（体裁和历史）的主题，为了开发1 个寓言，神秘的图案言语 ，成为典型的分离主义艺术。加布里埃尔最大的空灵风格的特点是“最初 的令牌”（在大都会博物馆），和“光”（在东方 敖德萨博物馆和东艺，乌克兰）。
He was born Gabriel Cornelius Max, the son of the sculptor Josef Max and Anna Schumann. He studied between 1855 and 1858 at the Prague Academy of Arts with Eduard von Engerth. His studies included parapsychology (somnambulism,hypnotism, spiritism), Darwinism, Asiatic philosophy, the ideas of Schopenhauer, and various mystical traditions. The spiritual-mystical movement was emphasized by the writings of Carl du Prel, and the Munichpainter Albert Keller was also an influence.[1]
His first large canvas was painted in 1858 while he was a student at the Prague Academy. He continued his studies at the Viennese Academy of Art with Karl von Blaas, Karl Mayer, Christian Ruben and Carl Wurzinger. From 1863 to 1867 he studied at the Munich Academy with Karl Theodor von Piloty, and also Hans Makart andFranz Defregger. His first critical success was in 1867 with the painting "Martyr at the Cross": that painting transformed the "Unglücksmalerei" (dark palette) of Piloty into a religious-mystical symbolism using a psychological rendering of its subject.
He continued to use the dark palette of the Piloty school well into the 1870s, later moving toward a more muted palette, using fewer,clearer colors. From 1869, Gabriel von Max had his studio in Munich; in the summer, he was in the Ammerland at Starnberger Lake. From 1879-1883, Gabriel Max was a professor of Historical Painting at the Munich Academy; he also became a Fellow of The Theosophical Society. In 1900 he was ennobled and became a Ritter. He died in Munich in 1915.
His interest in anthropological studies also showed in his work. He owned a large scientific collection of prehistoric ethnological and anthropological finds: the collection and his correspondence now reside in theReiss-Engelhorn-Museen in Mannheim. At his residence in Starnberger Lake, Gabriel Max surrounded himself with a family of monkeys, which he painted often, sometimes portraying them as human. Max, along with his colleagues, often used photographs to guide painting. The great number of monkey photographs in his archive testify to their use as direct translation into his paintings. In 1908, his painting "The Lion's Bride" became celebrated, and was depicted in motion pictures as an hommage in the Gloria Swanson film, Male and Female, (1919), directed by Cecil B. de Mille.
Gabriel von Max was a significant artist to emerge from the Piloty School, because he abandoned the themes of the Grunderzeitliche (genre and history), in order to develop an allegorical-mystical pictorial language, which became typical of Secessionist Art. Characteristic of the ethereal style of Gabriel Max is "The Last Token" (in the Metropolitan Museum), and "Light" (in the Odessa Museum of Western and Eastern Art, Ukraine).
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