Prof. Dr. Evonne Levy


levy(at) 0669 993-259

Evonne Levy,  born in New York City and resident in Canada since 1996 did her undergraduate studies at Brown University, and her PhD at Princeton University. She is currently Professor of Art History at the University of Toronto ( where she works in the areas of Italian Baroque art and architecture, Colonial Latin American art, and the historiography of art. Her first monograph, Propaganda and the Jesuit Baroque (University of California Press, 2004), was based on dissertation research on Jesuit chapels conducted in Rome 1988–1991 as Samuel Kress pre-doctoral fellow of the Bibliotheca Hertziana and the American Academy in Rome. Stimulated by a DAAD post-doctoral fellowship that took her to Berlin in 1993, just as the architectural ramifications of the move of the German capital back to Berlin were being debated, she proposed a de-neutralization of Catholic Baroque art and, to this end, a productive use of the term »Propaganda« in art history. Since then she turned her attention to the Germanophone historiography of art, with particular attention to the concept of the baroque and to political thought. Her second monograph, Baroque and the Political Language of Formalism (1844–1945): Burckhardt, Wölfflin, Gurlitt, Brinckmann, Sedlmayr (Schwabe, 2015) supported by grants from the DAAD, CASVA and SSHRC, drew out the intersection of the formation of the concept of the baroque with political events, political thought and with the political positions of five major protagonists in art history. Levy has also worked on the art and biographical legacy of GianLorenzo Bernini as co-editor (with Maarten Delbeke and Steven F. Ostrow) of Bernini’s Biographies: Critical Essays, of Material Bernini (with Carolina Mangone) and a special issue (2. 2011) of the Sculpture Journal on Bernini’s Portraits. As collaborator on a Major Collaborative Research Initiative funded by the Social Sciences Research Council of Canada on the Transatlantic Hispanic Baroque, Levy co-edited with the historian Kenneth Mills, the Lexikon of the Hispanic Baroque: Transatlantic Exchange and Transformation (University of Texas Press, 2014), and she continues to work on selective projects on painting of the colonial period in the Andes.