Director of the Dutch Institute for Art History in Florence; Professor of Art History and Iconology at Utrecht University. Emmens attended the Marnix Gymnasium in Rotterdam. Between 1947 and 1955, he studied art history at Utrecht University where J. G. van Gelder was among his major influences. As a student, he wrote a thesis, Apelles en Apollo, about Dutch poems on seventeenth-century paintings. He became the research assistant for William S.

Archaeologist and scholar of ancient art. Groenewegen's father, Hermanus Ysbrand Groenewegen (b. 1862), was a minister and professor of theology at a seminary in Leiden and later a professor of philosophy of religion and ethics at the University of Amsterdam. She studied Greek and Chinese philosophy at the University of Amsterdam where she met Henri Frankfort, another ancientist student a year younger than she. The two became engaged in 1920. In 1921 Groenewegen was granted an M. A.

Connoisseur; specialist in Dutch seventeenth-century painting and iconography; Director of the Netherlands Institute for Art History and the Mauritshuis in The Hague. Gudlaugsson was born in Skagen as the son of the Icelandic poet Jonas Gudlaugsson (1887-1916). His mother, Maria Ingenohl, was a Dutch woman raised in Germany. After the death of her husband, she moved with Gudlaugsson, her only child, to Berlin. Gudlaugsson studied art history in Berlin and in Munich. His teachers in Berlin included Oskar Fischel and Wilhelm Pinder.

Professor of art history and decorative arts museum curator. Hudig was born in Rotterdam where his father and his brother were members of the shipping firm Hudig and Veder. The young Hudig apprenticed at the firm of Ryley and Company in London. Between 1907 and 1913 he served the Hudig and Veder firm in Amsterdam as proxy holder. Fascinated by art and literature, he left the firm at age 30 to study art history in Berlin. For two years he studied under Adolph Goldschmidt, August Grisebach, and Georg Loeschcke.

Historian of the art of the [former] Dutch East Indies region. Jeanne Haaxman received her earliest art education from her father, Pieter Anne Haaxman, who was a journalist and art critic. Her mother was Janetta Maria Wijnkamp. After her graduation from high school, in 1899, she studied drawing and art history at the Academy in The Hague, where she earned her degree as secondary school teacher. In 1902 she was appointed an anatomical illustrator at the Anatomisch Laboratorium of Leiden University, where she in addition attended art history classes.

Archivist and librarian; director of Museum Boijmans at Rotterdam; first chief director of the Amsterdam Rijksmuseum. Obreen was trained to become a businessman, but due to his interest in art and history he was appointed as an assistant librarian and archivist of the city of Rotterdam. The archive was housed in the Gemeenlandshuis van Schieland, along with the galleries of Museum Boijmans. In co-operation with the archivist Johannes H. Scheffer (1832-1886) he published sources on the history of Rotterdam: Rotterdamsche historiebladen.

Museum director; poet. Schmidt-Degener attended the Gymnasium at Rotterdam. He began studying Art History in Berlin continuing his study for four years further at the Sorbonne without completing a degree. In 1908 he became the Director of the Boymans Museum at Rotterdam. At the Boymans, he reorganized the museum and changed the installations in order to give a broader overview. As a museum reformer, he played a mayor role in the Rijkscommissie voor het Museumwezen (State Commission for Museum Affairs) set up in 1919.

Professor of art history; founder of Iconclass. Van de Waal was the son of Elias van de Waal, a goldsmith, and Henriette Seckel. The young Van de Waal attended high school at the Rotterdam Gymnasium Erasmianum. In 1929 he began studying Dutch language and literature at the University of Leiden. From 1932 onwards he in addition studied history of art. After his graduation, in 1934, he was appointed assistant of the Prentenkabinet (print room) at Leiden University. In 1939 he married Liliane Dufresne.

Coauthor of lexicon of artists, Geschiedenis der vaderlandse schilderkunst, sedert de helft der XVIII eeuw. Van der Willigen took the initiative to write the history of artists living in the Netherlands from the middle of the eighteenth century up to his time. In search for information on artists he published, in 1814, a request in the Algemeene konst- en letterbode. Among those who responded was Roeland van Eynden, who subsequently became the coauthor of the project.