Art History Department

Levy, Evonne MFA, PhD

Professor, Baroque Art (UT Mississauga)

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My research and teaching focus on three interrelated areas of concern:  global baroque art and architecture (European and Latin American), with a particular interest  in the Jesuit order; the work and biographical legacy of the Italian baroque sculptor Gian Lorenzo Bernini and his milieu; the history of art history, especially the concept of the Baroque in the German-language literature and with a particular interest in how politics have shaped the discipline. Projects that I have recently concluded include the multi-disciplinary volume co-edited with historian Kenneth Mills called The Lexikon of the Hispanic Baroque: Transatlantic Exchange and Transformation (University of Texas, 2014) which shows the dynamic processes of mutual transformation across the Atlantic world of the long Hispanic Baroque. My second monograph, Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr shows how political events, political thought, and the political beliefs of art history’s protagonists shaped their concepts of the Baroque. I have also published an edited volume, Material Bernini (co-edited with Carolina Mangone) one of three edited volumes on the work of Bernini that arose from conferences held at the U of T in conjunction with my seminars). And in 2015, a new English translation and critical edition of Heinrich Wölfflin’s classic work, Principles of Art History (translated by Jonathan Blower and co-edited with T. Weddigen, Getty 2015) appeared on the occasion of the 100th anniversary of publication. In the next few years I continue to work, together with Prof. Dr. Tristan Weddigen of the University of Zurich, on a large collaborative research project funded by a SSHRC Insight grant on the reception of Wölfflin’s book, from Beijing to Argentina, as an optic on the history of the discipline 1915-2015 worldwide. I also continue to work on projects on Latin American colonial art and am developing a project on early modern intermediality.

Reading Wölfflin’s ‘Principles of Art History’: Toronto Stories (the short (18 min.) version of an hour-long documentary film made by undergraduates in my FAH 489 course in 2016):

Project Website:


Areas of Academic Interest
  • Baroque Art and Architecture
  • the Historiography of Art
  • Ph.D Princeton University (1993)
Selected Publications


  • Baroque and the Political Language of Formalism (1845-1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr. Basel: Schwabe, 2015.

  • Heinrich Wölfflin, The Principles of Art History: The Problem of the Development of Style in Early Modern Art. Trans. Jonathan Blower. Ed. Evonne Levy and Tristan Weddigen. Los Angeles: Getty Research Institute, 2015.

  • Propaganda and the Jesuit Baroque. Berkeley: University of California Press, 2004.

  • Co-edited with Carolina Mangone. Material Bernini. London: Routledge, 2016.

  • Co-edited with Kenneth Mills. Lexikon of the Hispanic Baroque. Transatlantic Exchange and Transformation. Austin: University of Texas Press, 2014.

  • Co-edited with Maarten Delbeke and Steven F. Ostrow. Bernini’s Biographies: Critical Essays. University Park, PA: Pennsylvania State University Press, 2007.

  • Co-edited with Andrea Bacchi and Catherine Hess, Special Issue on Bernini’s Portraitsof The Sculpture Journal 2 (2011).

  • Wölfflin’s Principles in the United States: Crucible of a Discipline,” in The Global Reception of Heinrich Wölfflin’s ‘Principles of Art History’ (1915-2015).  Co-edited by Evonne Levy and  Tristan Weddigen. Studies in the History of Art, Center for Advanced  Study in the Visual Arts, National Gallery of Art, Washington, D.C. (forthcoming).

  • “The German Art Historians in the Great War: Kulturpropanda and the Stillbirth of Propaganda Analysis,” in Apologeten der Vernichtung oder “Kunstschuetzer?Ed. Beate Störkuhl and Robert Born. Vienna, Böhlau. (forthcoming)

  • “Mass Manual Production of Devotional Paintings in the Andes: Preliminary Notes from Cusco,” In The Nomadic Object: Early Modern Religious Art in Global Contact. Ed. Christine Goettler and Mia Mochizuki. Brill. (forthcoming)

  • “Ad maiorem Dei Gloriam and the Undoing of Glory in Images of Ignatius.” In Soleils baroques. La Gloire de Dieu et des Princes en représentation dans l’Europe modern. Ed. Frédéric Cousinié, Annick Lemoine et Michèle Virol. Rome: Académie de France à Rome. (forthcoming)

  • “Early Formalism’s Suppression of Content: Wölfflin on Hans von Marées and the modern homoerotic classical picture.” In Das Problem der Form. Ed. Regine Prange and Hans Aurenhammer. Deutsche Verlag. (forthcoming 2016)

  • “Obstacles in the Path to a Material Bernini (1900–present).” In Material Bernini. Edited by Evonne Levy and Carolina Mangone. (New York: Routledge, 2016), 1-19.

  • “Wölfflin’s ‘Principles of Art History ‘(1915-2015): A Prolegomenon for its Second Century.” In Heinrich Wölfflin, Principles of Art History: The Problem of Development of Style in Early Modern Art. Translated by Jonathan Blower. Edited by Evonne Levy and Tristan Weddigen. Los Angeles: Getty Research Institute, 2015, 1-46.

  • Co-author with Tristan Weddigen,  “The Global Reception of Wölfflin’s ‘Principles’ (1915-2015).” In Kunstgeschichten 1915. 100 Jahre Heinrich Wölfflin: Kunstgeschichtliche Grundbegriffe. Edited by Ulrich Pfisterer and Burco Dogramaci  and Matteo Burioni. Passau: Klinger, 2015, 428-437.

  • “Riegl and Wölfflin in Dialogue on the Baroque.” In The Baroque in Architectural Culture, 1880-1980. Edited by Andrew Leach, John Macarthur and Maarten Delbeke.  Farnham: Ashgate, 2015, 87-95.

  • “Early Modern Jesuit Arts and Jesuit Visual Culture: A View from the Twenty-First Century,”Journal of Jesuit Studies 1 (2013): 66-87.

  • “Ernst Kris, The Legend of the Artist (1934) and Mein Kampf,” Oxford Art Journal 36, no. 2 (2013): 207-229.

  • “Heinrich Wölfflin’s Renaissance und Barock (1888) and the Political Unconscious of Early Formalism.” October 139 (2012): 39-58.

  • “Repeat Performances: Bernini, the portrait and its copy,” Sculpture Journal 2 (2011): 239-49

  • “The German Art Historians of World War I:  Grautoff, Wichert, Weisbach and Brinckmann and the activities of the Zentralstelle für Auslandsdienst,“ Zeitschrift für Kunstgeschichte 3 (2011): 373-400.

  • “Sedlmayr and Schapiro Correspond, 1930-1935,”Wiener Jahrbuch für Kunstgeschichte LIX  (2010; appeared 2011): 235-263.

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