• Marxist/social-history art historian. Antal was born to a wealthy Jewish family. His father, Alajos Antal, was a medical doctor and his mother was Sofia Gerstl. The younger Antal completed a law degree in Budapest and then continued there as well as Freiburg and Paris to study art history. In studied in Berlin under Heinrich Wölfflin and then in Vienna under Max Dvorák. He received his doctorate in art history in 1914 writing his thesis under Dvořák on neoclassical and Romantic French painting.
  • Modernist art historian and man of letters. Fülep was early interested in Cézanne and wrote positively about the painter in his native Hungary. In 1906 he early showed appreciation for Új Versek (New Verse), the first volume of experimental Hungarian poetry by Endre Ady. Fülep lived in Italy, chiefly in Florence, from 1907 to 1914, with a Paris visit and a brief stay in London. In Florence he studied under Benedetto Croce (q.v.). He returned to Hungary when the First World War erupted in 1914, along with his countryman, the philosopher Georg Lukács (1885-1971) (who was in Heidelberg).
  • Marxist film and art historian. As a student of German and Romance languages in Budapest, Hauser (in 1916) joined the Sonntagskreis, where his friend and colleague Karl Mannheim (1893-1947) and the philosopher George Lukács (1885-1971) were members. In 1918 Hauser received his doctorate in German romantic aesthetics, assumed a professorship at the University in Budapest, and became the Director of the Reformrates (Council on Reform) of art history education. Following the Hungarian Counterrevolution in 1919, Hauser fled to Italy, where he first studied fine art.
  • Marxist art theoretician
  • Donatello and Italian Renaissance sculpture scholar. Lányi's father was Arpád Lányi, a Hungarian bureaucrat. The younger Lányi attended a humanities Gymnasium in Budapest, receiving his Abitur in 1920. Between 1920 and 1924 and again in 1927 he studied art history, archaeology and history in Vienna under the Vienna-School scholar Julius von Schlosser and then in Munich under Wilhelm Pinder. He wrote a dissertation (likely supervised by Pinder) in Munich on Jacopo della Quercia in 1929.
  • Netherlandish art scholar, compiler of an important subject index of Baroque art; director of the Museum of Fine Arts in Budapest, 1956-1964. Pigler was a strong exponent of iconographical interpretation. Influenced by the medievalist Émile Mâle (q.v.), Pigler wrote a 1939 article for the Art Bulletin on the history and importance of iconography in the interpreation of art. He succeeded Ferenc Redő in 1956 as the director of the Szépművészeti Múzeum (Museum of Fine Arts), Budapest. The same year Pigler issued the first edition of a monumental study of subject matter in Baroque painting.
  • Composer, painter, and art theorist; art historian of Dutch art, particularly Brueghel the Elder.  Popper was the son of the cellist David Popper (1843-1913) and Sophie Menter (Popper) (1846–1918), a pianist and pupil of Franz Lizst. After graduating from high school in 1905, he initially attended the Musikakademie and the Akademie der Bildenden Künste. The following year he entered the painting school in Frauenbacher Romania.  As a student he joined the artists group the Eight (Die Acht).

  • Michelangelo scholar and Deputy Director of the Courtauld Institute, professor 1950-58. Wilde was raised in Hungary. His parents were Richard Wilde (1840-1912) and Rosalie Somjágy (Wilde) (1854-1928). He attended the State Gymnasium in Budapest before the University of Budapest, 1909-1913 where he studied art, archaeology and philosophy, then one semester at the University of Freiburg before settling at the University of Vienna, 1915-1917. In Vienna he studied under Vienna-school scholar Max Dvořák, with whom he wrote his doctorate in 1918 on early Italian etching.