History of Art Graduate Department of Art

Sohm, Philip MA, PhD

University Professor, Renaissance and Baroque Art (UT St. George)

Email: p.sohm@utoronto.ca

My past research covers a range of topics:  social history and architectural design; the language of art theory and criticism; psycho-biographies of artists; non-verbal communication in painting; the biological and psychological conditions of artistic creativity and production; and the economic preconditions of making and marketing paintings. I am currently working on painters’ palettes and painting as performance.

Areas of Academic Interest
  • Early modern Italian art and architecture
Education
  • Ph.D Johns Hopkins University, 1978
Selected Publications
  • Painting for Profit. The Economic Lives of Seventeenth-century Italian Painters, New Haven and London: Yale University Press, 2010; co-author: Richard Spear.

  • The Artist Grows Old. The Aging of Art and Artists in Italy, 1500-1800, New Haven and London: Yale University Press, 2007.

  • Style in the Art Theory of Early Modern Italy, New York and Cambridge: Cambridge University Press: 2001.

  • Pittoresco. Marco Boschini, His Critics and Their Critiques of Painterly Brushwork in Seventeenth- and Eighteenth-Century Italy, Cambridge: Cambridge University Press, 1991.

  • “Giving Vasari the Giorgio Treatment,” I Tatti Studies in the Italian Renaissance, vol. 18, 2015, pp. 61 – 111.

  • “Caravaggio the Barbarian,” in Caravaggio Reconsidered, ed. David Stone and Lorenzo Pericolo, London: Ashgate Publishing, 2014.

  • “Caravaggio, Federico Zuccaro and the economics of novità,” in Novità – Neuheitskonzepte in den Bildkünsten um 1600, eds. U. Pfisterer and G. Wimböck, Zurich: diaphanes, 2011, 375-400.

  • “Caravaggio’s Deaths,” Art Bulletin, 84, 2002, 449-468.

  • “Baroque Piles and Other Decompositions,” in Pictorial Composition, ed. F. Quiviger and P. Taylor, London (Warburg Institute Colloquia, 6), 2001, 58-90.

  • “Ordering History with Style: Giorgio Vasari on the Art of History,” in Antiquity and Its Interpreters, ed. A. Payne, A. Kuttner and R. Smick, Cambridge: Cambridge University Press, 2000, 40-55.

  • Maniera and the Absent Hand: Avoiding the Etymology of Style,” RES. Anthropology and Aesthetics (Theme issue on “Factura,” ed. J. Koerner), 36, 1999, 100-124.

  • “Gendered Style in Italian Art Criticism from Michelangelo to Malvasia,” Renaissance Quarterly, XLVIII, 1995, 759-808.

  • “The Critical Reception of Paolo Veronese in Eighteenth-Century Italy: the Example of Giambattista Tiepolo as Veronese Redivivus,” Paolo Veronese – fortuna critica und künstlerisches Nachleben, Sigmaringen, 1990, pp. 87-108. (Studi, 8. Deutsches Studienzentrum in Venedig, 1990).

  • “Dürer’s Melencolia I: The Limits of Knowledge,” Studies in the History of Art,
    9, 1980, pp. 13-32.

  • “The Staircases of the Venetian Scuole Grandi and Mauro Coducci,” Architectura (Zeitschrift für Geschichte der Baukunst; Journal of the History of Architecture), 8, 1978, pp. 125-149.

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