Edith Hoffmann's name is not unknown to those involved in Hungarian museology or to researchers of medieval and Renaissance miniature painting and panel painting, and her research on 19th century Hungarian art is significant. Nevertheless, her oeuvre has not been scientifically processed, no collection of her numerous publications, which constitute basic research, has been published, and on her premature death she was not even honoured with a Festschrift. In 1948, her former workplace commemorated her with a memorial exhibition, the first to include her bibliography in its catalogue and the first compilation of the works she had collected for the Graphic Art Collection of the Museum of Fine Arts.1 In recent years, her person has come into focus primarily through her association with the Vienna School of Art History and her relationship with János (Johannes) Wilde.2 Although the anthology of the great authors of Hungarian art history (2007) includes a summary of her person and career, this could only be considered the starting point for a comprehensive volume of her works spanning several periods.3The theme of the current conference gave me the idea that a gender perspective on the development of her career might be a valid one, since we are talking about a woman scholar who managed carve out a place for herself in the all-male art historical community at a time when this was not at all obvious.That's why the present paper will in the first part of the text explore the conditions at the time she began her career and the possibilities for her remaining in the field. In the second part of the paper, I will focus on Edith Hoffmann's professional contacts in Vienna, because of the venue of the current conference.