Artist and art historian. Auerbach grew up in an educated Jewish family in Frankfurt. Her mother was the painter, Emma Kehrmann (1867-1958). She studied art history between 1917-24 at the universities in Frankfurt, Bonn and Munich, under Rudolf Kautzsch and Heinrich Wölfflin. Her 1925 Frankfurt dissertation, under Kautzsch, focused on 16th-century German portraiture in Franken, Schwaben and Bavaria. She taught at Frankfurter Volksbildungsheim (1925-33).

Artist, author and Professor of the History and Theory of Art at the University of Sussex from 1967 to 1975. Son of Clive Bell and nephew of Virginia Woolf. His papers are housed at the University of Sussex.

Artist and professor of art history at the Universities of Heidelberg, Strasbourg, and Munich; exponent of 20th-century art and founder of the modern art-historical encyclopedia. Burger was the son of a banker. He started architectural studies in 1896 in Munich, but cut them short for enrollment in the military the following year. From 1900 onward, he studied art history in Heidelberg. The new art movement of Darmstadt became the subject of his first publication in 1902. He married the daughter of the Heidelberg classicist Friedrich von Duhn the same year.

Artist and art historian; collaborator with Joseph Archer Crowe on the first modern history of art to be written in English. Cavalcaselle studied studio painting at the Accademia di Belle Arti in Venice. He was born in Legnago, Milan, Italy, in the Verona vicinity. When his interests changed to art history, he moved to Milan and Florence to study renaissance art. In 1847 he met Joseph Archer Crowe, a British art historian in Italy. The following year, Cavalcaselle joined in the 1848 revolutions sweeping Europe.

African-American artist, curator, and historian of African-American art. Driskell was the son of Baptist minister George Washington Driskell, and Mary Cloud Driskell. Driskell’s family heavily influenced his career in art, as his father, a painter of religious subjects, and his mother, a quilter, both influenced his choice of career, and his grandfather was a sculptor. Driskell grew up in western North Carolina, attending segregated schools.Though Driskell was awarded a $90 scholarship to Shaw University in Raleigh, NC, he chose to attend Howard University in Washington D.C.

Artist and arts editor for Harry N. Abrams publishers, wrote a 1972 volume on Renoir for the Great Ages of Art series. He trained as a painter at the Cleveland School of Art and later at the Adadémie Julian in Paris. He was invited to become "élève École des Beaux-arts" in 1926. Fox married fellow Adadémie Julian student Ruby Canfield in 1928. He returned to his alma mater in Cleveland to teach, then the Cleveland School of Architecture and Western Reserve University, where he received an M.A.

Artist, art critic and art historian. Gablik was born to Anthony J. Gablik and Geraldine Schwarz (Gablik). She briefly attended Black Mountain College during the summer of 1951 before entering Hunter College (now part of the City University of New York) where she studied with Robert Motherwell. She received her B. A. in 1955. Gablik began as an artist working in college paintings. In 1966 held her first one-woman show in New York. She and the New York Times art critic John Russell wrote the exhibition catalog, Pop Art Redefined in 1969.

Artist, art critic and art historian. Born the son of a graphic designer and chromolithographer, Gaunt dabbled in drawing and writing as a youth. In 1914, after winning a literary contest in the Connoisseur for an essay on Shakespeare's The Tempest, his thoughts seriously turned to criticism. He served briefly in World War I, fighting in the Durham Light Infantry, 1918, until the war ended that year. The following year he attended Worcester College, Oxford, where he read modern history and participated in the Art Society.

Artist, curator and historian of modern art history. Gowing was born to Horace Gowing, a successful draper. His early years were spent at the Downs School at Colwall, Herefordshire. He was tutored in art first by Maurice Feild (1905-1988) and later by William Coldstream (1908-1987), the latter frequenting the school because of its unconventional English teacher, W. H. Auden.

Art writer, painter, draughtsman, engraver, book illustrator. At the age of nine, Houbraken became an assistant in the shop of the Dordrecht merchant in twine, Johannes de Haan. His patron, being himself trained in painting by Nicolaes Maes (1634-1693), gave the young boy the opportunity to copy drawings and prints. In 1672, Houbraken began his apprenticeship as a painter, first for a short time as a pupil of the landscape painter Willem van Drielenburch (c. 1625-after 1677). In 673-1674, he spent nine months in the studio of the portraitist Jacobus Levecq (1634-1675).

Artist and Director of the Dresden Gemäldegalerie during the years preceding debate over the authenticity of the Holbein Meyer Madonna. Hübner studied at the Academy School in Berlin and under Wolgang Schadow and later in Düsseldorf. After a trip to Italy and settled in Düsseldorf. In 1839 he moved to Dresden where he was named a professor in the Academy of Arts in 1841. He obtained the great gold medal for painting at Brussels in 1851. In 1871 Hübner became director of the Gemäldegalerie (Paintings Gallery).

Artist, writer and art book author. Julian was born Philippe Simounet. His grandfather was the historian Camille Jullian (1859-1933) and his father André Simounet, a military officer. At age eight he took his mother's family name of Jullian. His whole life, he was part of the Society world which he both criticized and belonged. Jullian studied at the Sorbonne, but lacked the discipline to finish. His first published book, Dictionnaire du snobisme appeared in the same year as its English translation, the Snob Spotter's Guide in 1958.

Artist and formal-analysis author on Cézanne paintings. Loran was born Erleloran Johnson. He entered University of Minnesota briefly, between 1922-1923, switching to the the Minneapolis School of Art (now the Minneapolis College of Art and Design), where he graduated in 1926. Through the Chaloner Foundation, a body funding the study of "great works of art" by students in the museums of Europe, he continued study on the continent. Johnson became fascinated by the artist Paul Cézanne.

Collector, artist and art writer; first to use the term "connoisseur." Richardson's principal vocation was as a portrait painter. His early writing focused on art theory, such as An Essay on the Theory of Painting (1715). It is today considered the first important treatise on the subject by an English writer. In 1719 he wrote An Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur.

Historian of South Asian art and Harvard Professor. Rowland attended St. Paul's School in Concord, New Hampshire. The remainder of his degrees and teaching were exclusively at Harvard University. He was granted his B.S. in 1928 and Ph.D. only two years later, in 1930. His dissertation, on the 15th-century Catalonian painter Jaume Huguet was written under Chandler R. Post and published in 1932. From 1930-41 he served as tutor at Harvard. During this time Post became interested in Asian arts and began to study Chinese and Japanese languages.

Artist, Professor of Modern art and Director, UCLA Art Galleries. Wight's parents were Carol Van Buren Wight (b. 1875) a professor of classics at Johns Hopkins University, and Alice Stallknecht (Wight), an artist. He graduated from the University of Virginia in 1923, traveling to France to study painting at the Academie Julien, 1923-1925, as well as elsewhere in Europe. He married Joan Bingham in 1936. Wight began writing novels, South (1935), The Chronicle of Aaron Kane (1936) and Youth in Trust (1937). During World War II, Wight served in the U.S.

Artist and art writer; organized Nazi "Degenerate Art" exhibition 1937. Willrich's father, Hugo Willrich (1867-1950), was a professor of Hellenistic studies at the gymnasium in Göttingen. Willrich himself studied studio art in Berlin at the Kunsthochschule between 1915-16. Already strongly conservative because of his father's traditional Prussian views, the younger Willrich resisted the new art styles being taught there. The first World Ward cut short his art training. Willrich served in the 251st infantry regiment in 1916 seeing action at the eastern front.