When Max Dvořák's (1874-1921) art history is considered,1 Franz Wickhoff's (1853-1909) and Alois Riegl's (1858-1905) influence is always mentioned in the foreground of the historiographical research.2 However, a question that, in my opinion, has yet to be adequately addressed is in what sense and to what extent Dvořák's method of art history was directly formed by his personal relationships with Riegl and especially Wickhoff. This article therefore seeks to show the ways in which Wickhoff and Riegl may have had an influence on Max Dvořák's thinking on art history through their private relationships, which can be reconstructed based on a newly found archival materials, in order to fill in a gap in the historiographic research on the Vienna School of Art History.