A major figure in the revival of ceramics at the turn of the 19th century, Max Laeuger was first and foremost a multidisciplinary artist who left his mark on the decorative arts of his time. His status as a pioneer seems to have been confirmed by his participation in the foundation of the Deutscher Werkbund, created in 1907 by the architect Hermann Muthesius (1861-1927), in collaboration with other pioneering artists such as Richard Riemerschmid (1868-1957) and Peter Behrens (1868-1940). Trained as a painter and interior decorator at the Karlsruhe School of Arts & Crafts from 1881, Laeuger soon became a teacher at the same establishment - in turn training other artists in drawing, then in ‘surface painting’ and ‘decorative arts drawing’. Having initially decided to devote himself to painting, he stayed in Italy in 1891 before joining the famous Académie Julian in Paris between 1892 and 1893.

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However, his love of ceramics led him to devote himself to this material. As early as 1893, he was creating his first pieces, which reflected the folk art and traditions of his native region. In 1897, he became artistic director of the Tonwerke ceramics factory in Kandern, which was to become the setting for his new experiments with the material. Between 1897 and 1913, his designs were mass-produced and distributed by the Tonwerke factory. This was followed by a fruitful collaboration with the majolica factory in Karlsruhe. Laeuger also exhibited his ceramics at a number of major events, often designing entire interiors for them - reflecting his multidisciplinary approach and extensive technical knowledge. His work was shown at the 1900 Exposition Universelle in Paris, the 1902 Exposition Internationale des Arts Décoratifs Modernes in Turin and the 1904 Exposition Universelle in Saint-Louis (Missouri).

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Max Laeuger is the creator of a number of Art Nouveau ceramics, in a variety of shapes, characterised by their graphic and relief-like surfaces. Inspired by the flora and fauna of his native Black Forest, he designed high-quality vases with stylised plant motifs, sometimes even featuring animals. His stylisation is such that, in some of his works, the border with abstraction is very thin. It's hardly surprising, then, that the modernity and refinement of his work have made him one of Germany's most important artists.