Maximilian Albert Josef Liebenwein (11 April 1869 – 17 July 1926) was an Austrian-German painter, graphic artist and book illustrator, in the Impressionist and Art Nouveau styles.

He spent significant time in Vienna, Munich and Burghausen, Altötting, and took an active part in the artistic community in all three places.

He spent 1891-92 with the 13th Dragoon Regiment, Prince Eugene of Savoy, then in autumn 1892 attended the Specialschule für Historienmalerei [de] (Special School for Historical Painting) under Matthias von Trenkwald.

Still unhappy with his environs, he met Heinrich von Zügel in early 1895 and began attending his classes on animal painting.

In 1899, Liebenwein established his residence and studio in the castle's largest tower, which he reworked as a Gesamtkunstwerk (total artwork) together with his friend Paul Horst-Schulze.

[14] The artwork covers three sides of a room and reflects medieval themes, including imagery of Walther von der Vogelweide and Parzival.

Liebwein, the magazine's main illustrator Ewald Arndt Čeplin, his brother Leo and its other regular artist Ivana Kobilca formed the obscure 'Sarajevo Painter's Club'.

The judges were Emil Doepler, Woldemar Friedrich, Bruno Schmitz and Franz Skarbina from Berlin, in addition to a Stollwerck partner.

Liebenwein volunteered for military service in 1914 and he was called up in June 1915; his wife Anna died from breast cancer in that year, in a sanatorium in Gmunden, while he was at the eastern front.

[26] In 1919–1925, he created a long cycle depicting the life of the Virgin Mary in the convent of the Franciscan Sisters of Vöcklabruck [de].

[8] In 1924, Liebenwein received the Silver Medal of the city of Salzburg for the paintings "Und wenn die Welt voll Teufel wär..." (1908), "Christ and the Adulteress" (1914) and "Rider Troop in Ambush" (lost).

He painted many fairy tale and legend cycles, particularly Greek mythology and mediaeval stories of chivalric romance, as well as religious images, including Marian pictures and the lives of the saints.

[2][8] His teacher Zügel was famous for his animal motifs and his Impressionism; Liebenwein took in this influence and transcended it, moving from Impressionistic oil paintings to mainly tempera after exhibiting with the Vienna Secession, as well as maintaining his interest in graphic art.

[4] Liebenwein created a number of bookplate designs, and was cited as being, with Emil Orlik, the most important Austrian artists in this particular niche.