Rubens scholar and director of the Rubenshuis. Baudouin studied during World War II. After the liberation of Belgium he assisted between 1946 and 1948 in the repatriation of artworks stolen by the Nazis. He worked as a research assistant at the Rijksmuseum in Amsterdam where he met the scholars Ludwig Burchard and Roger-Adolf d'Hulst. A delegation of Antwerp city officials visiting the museum in 1949, including the Burgomeister Lode Craeybeckx (1897-1976), noticed his activities and invited him back to his native Belgium.

Curator of the Cook Collection, Doughty House and Flemish art scholar. Brockwell was the son of the Reverend Cannon J. C. Brockwell of Sheffield Cathedral. He was educated at St. Paul's Cathedral Choir School and Hurstpierpoint (preparatory school). He traveled widely in Europe, after which he secured a position with Charles Holroyd, Director of the National Gallery, rewriting official catalog entries. He also wrote a book for the Board of Trustees on the NGA's Lewis bequest.

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.

Co-author with G. B. Cavalcaselle of one of the first modern English-language art histories. Crowe was born to the historian Eyre Evans Crowe (1799-1868). He studied painting with Jean-Louis Baptiste Hubert and Jules Coignet (1798-1860) in the early 1840s in France. He served as a political correspondent for the Morning Chronicle and the Daily News in 1843, providing illustrations and text for the journal. In 1847 a chance meeting with artist and connoisseur G. B.

Historian of German and Flemish drawings, Keeper of the Department of Prints and Drawings, British Museum. Dodgson came from a middle-class investment family, distantly related to Lewis Carroll (née Charles Lutwidge Dodgson). He attended Winchester and then New College, Oxford, where he read in Classics and Theology. His intention to be ordained changed after college (perhaps because of his realization of latent homosexuality). Dodgson assisted Oscar Wilde's friend Lord Alfred Douglas at Oxford, spending a well-documented weekend with Wild and Douglas at Babbacombe near Torquay.

Pieter Bruegel the Elder authority; Deputy Director, Manchester City Art Gallery, 1961-1966; Professor of Art History, Washington University, Seattle, 1966-1972. Grossmann was the son of Maximilian Grossmann, a Surgeon-General in the Austro-Hungarian Army. He attended the Staatsgymnasium of the third district (III Bezirk) in Vienna. As a student at the Wiener Handelsakademie he met Antoine Seilern who would prove instrumental in his later career.

Rubens and Rembrandt scholar; professor, Barnard College. Held's father was Adolf Held (1873-1919), employed as a merchant; his mother was Nannette Seligmann (1872-1926). He attended realprogymnasium in Mosbach and Gymnasium Heidelberg in that city, receiving his abitur in 1923. He entered the University of Heidelberg in 1923, studying also at Wilhelm Humbolt University, Berlin, 1923-24, 1927-28 and Vienna, 1925-26, 1929.

Rubens scholar and University of North Carolina, Chapel Hill professor, 1959-77. Huemer graduated from the Woman's College of Duke University in 1944. She moved to New York where she wrote her Master's thesis (1952) at New York University. She taught art history at Smith College while pursuing her dissertation, co-supervised under Richard Krautheimer and Walter F. Friedländer. It was granted in 1959 on baroque architectural decoration in Rome. That year she joined the faculty of the University of North Carolina at Chapel Hill.

Writer of a dictionary of Dutch and Flemish artists; art and book dealer; publisher and poet. Immerzeel was the third son of Johannes Immerzeel, a merchant in food, and Elizabet Steenbus. In his youth, Immerzeel studied drawing and painting with Pieter Hofman (1755-1837), but he had to give up this vocation because of his weak eyes. A self-educated man, he spoke several languages and dedicated himself to music and poetry. In 1795, he served as secretary to the court martial of Dordrecht.

Rubens scholar and director, Fitzwilliam Museum, Cambridge University 1973-1990. Jaffé (who despite his English heritage, retained the accent ague on his name) was born to a wealthy Jewish banker. He was schooled at Eton, and won a scholarship to King's College, Cambridge. He instead served in the Royal Navy (1942-45). He entered King's College in 1945, reading in History and English and obtaining a First. In 1949 he was admitted to the Courtauld Institute, attending lectures by Johannes Wilde and procuring student access to the Seilern Collection.

Writer of a dictionary of Dutch and Flemish artists, architects and painters. Kramm was the son of a cloth-merchant. At age 13, he was apprenticed to the silversmith, N. van Voorst, in Utrecht. In 1815 he joined the studio of the painter Pieter Christoffel Wonder (1780-1852). Kramm soon became a private teacher in drawing. In 1920 he found employment in the new theater of Utrecht as decorator. Here he developed his skill in architectural design. In 1826 he was appointed director of the architecture department of the municipal schools of Design and Architecture in Utrecht.

Vasari emulator, flemish

Rubens and Flemish painting scholar; National Gallery (London) assistant keeper at the National Gallery and Director Christie. Martin worked as an assistant keeper at the National Gallery in the 1960s. He joined Christie's auction house as a director specializing in Old Master paintings. In 2005 Martin published the volume in the Corpus Rubenianum catalogue raisonné, begun by Ludwig Burchard, on the ceiling decoration of the Banqueting Hall.

Van Dyck scholar, catalogue raisonné author and curator, Cabinet des Estampes, Bibliothèque royale de Belgique. Marie Hendrickx obtained a doctoral degree in Philosophy and Letters in classics (Histoire de l'Antiquité) from the Université Libre de Bruxelles. In 1929 she joined the Bibliothèque royale de Belgique in Brussels as an intern. Her appointment as librarian followed in 1931. She worked at the Cabinet des Estampes (Printroom) under curator Louis I. J. J. Lebeer.

Curator of Flemish painting at the Louvre; professor. Michel's family belonged to the French upper middle class. After graduating from the École centrale des Arts et Manufactures de Paris he worked as an industrial engineer and director of factories at both sides of the Franco-Belgian border. During World War I, while he served as artillery captain, his factories were destroyed. From 1919 onwards he chose a career in art history. He received his first initiation from his uncle, a collector of paintings.

Painter and Dutch and Flemish art scholar. Michel's mother was from Bavaria and the young man grew up with an appreciation of German as well as French culture. He studied drawing with Auguste Karl Migette (1802-1884) in Metz until 1845. After graduating from the l'École polytechnique in Paris he returned to Metz to work as an artist. The so-called School of Metz artists revolved around the artist Charles-Laurent Maréchal (1801-1887). Michel learned much about art criticism and art history from this magnetic personality.

wrote on Flemish and Dutch artists; method marked by emphasis on sociocultural context

Museum curator and historian of 17^th century Flemish painting. Oldenbourg was the son of the eminent Munich book publisher Rudolf, Ritter von Oldenbourg (1845-1913). The younger Oldenbourg studied in Vienna and Halle, and wrote a dissertation on painter Thomas de Keyser under the direction of Adolph Goldschmidt in 1911. After receiving his degree, he became an assistant at the Alte Pinakothek in Munich, which led to a position as a curator of paintings in the Kaiser-Friedrich Museum in Berlin.

Indexer of printers on Peter Paul Rubens. The professor of Art History at Utrecht University, J. G. van Gelder, described Schneevoogt's work as one of the praiseworthy yet lesser-known graphic studies of Netherlandish of the nineteenth and early twentieth centuries.

Art History Professor at the Catholic University of Louvain (1985-99); founder of the Centre for the Study of Flemish Illuminators. Smeyers grew up in Louvain, Belgium. Like his father, Andreas Smeyers, who published on historic Louvain and the nearby Vlierbeek Abbey, he was particularly interested in local history. He attended high school at St. Peter's College in Louvain and went on as a history student at the Catholic University in the same city. After his graduation, in 1961, he accepted a position as high school teacher at the College of Our Lady in Boom, to the north of Brussels.

Painter; early diarist and chronicler of Flemish artistic life. Vaernewyck was raised a Catholic and remained one his life. He was placed in charged of the guard investigating religious beliefs of expatriates and the Ghent citizenry alike. In 1560 he published Vlaemsche audvremdigheyt, a Flemish history written as poetry. He further held various government positions, including administrator of the charity house (1563), city councilman (1564), and controller for the grain exchange (depot) in 1566.

Van Dyck scholar; director of the Staatliche Kunsthalle in Karlsruhe, 1973-. In 1969 he published together with Gert von der Osten the Pelican History of Art volume on Dutch and German renaissance painting. He succeeded Jan Lauts as director of the Staatliche Kunsthalle in Karlsruhe in 1973.

Early modern scholar of Flemish painters; significant for their "rediscovery." Weale was the son of James Weale (d. 1838), a librarian to the later first earl of Sheffield, and Susan Caroline de Vezian (Weale) (d. 1855). James Weale's book collection greatly impressed the younger Weale, though James died early in his son's life. The younger Weale attended King's College School, London between 1843 and 1848.

Dutch and Flemish authority, collector, author of artist's dictionary. Wurzbach began his career by studying law, but gave it up somewhere around 1876 to devote his energies to art history and travel. After a period of writing novels and comedies, he moved to art-writing, issuing a small book, Die französischen Maler, (French Painters of the Eighteenth Century) in 1880. From 1880-83 he was art critic for the Wiener Allgemeine Zeitung. During this time Wurzbach wrote two important book on northern rennaisance printmakers, an examination of the Master E.S.