History of Art
- About Us
- Applying to study at UCL
- Current Students
- Material Studies Laboratory
- Visual Resources
Published: Apr 15, 2014 11:27:00 AM
Published: Apr 15, 2014 11:24:58 AM
Published: Apr 2, 2014 10:02:30 AM
Published: Mar 25, 2014 11:58:05 AM
Published: Mar 21, 2014 8:33:59 AM
Dr Maria Loh
Goto: CURRICULUM VITAE
Dr. Maria H. Loh is a Reader in the history of early modern Italian art and theory. She received her BA in History from McGill University (1993), a CEAP from the Ecole Régionale des Beaux Arts de Rennes (1995), a Licence in History of Art from the Université de Rennes (1996), and her MA and PhD (2003) from the University of Toronto. She was a predoctoral fellow at the Getty Research Institute (2000-2002), a junior research fellow at St Hilda’s College Oxford (2003-2004), the recipient of a Philip Leverhulme Prize (2007-2009), and a Member at the Institute for Advanced Study, Princeton (2012-2013).
She is interested in ghost stories and in the pathos of portraiture. She is completing a book entitled Still Lives: Death, Desire, and the Portrait of the Old Master (Princeton University Press, forthcoming), which will focus on the perfidious nature of portraits, the perishable body of the artist, and the multiple lives that rise from the ashes of the dead.
She has published on:
- repetition and desire in art;
- the function of multiples and replicas in sixteenth- and seventeenth-century Italy;
- 'special affects' in early modern Italian painting and sculpture;
- portraiture and loss;
- remakes in cinema.
Reviews of Titian Remade (PDF):
- ‘“I Am Not Who You Think I Am”: Attributing the Humanist Portrait, Identifying the Art-Historical Subject’, Fictions of Art History, eds. Michael Hatt and Mark Ledbury (Williamstown: Clark Art Institute, 2013).
- 'Veronese's Story of the Eye', Paolo Veronese in American Collections, eds. Virginia Brilliant and Frederick Ilchman, Sarasota: Ringling Museum, 2012, pp. 70-85.
- ‘Afterward/Afterword/Afterwork’, Mayhem: Sherrie Levine, eds. Joanna Burton, Donna de Salvo, and Elisabeth Sussman, New Haven: Yale University Press, 2012, pp. 183-8.
- 'Double Happiness', Edgar Wind Journal, Vol. 4 (2012): pp. 9-10.
- 'Outscreaming the Laocoon: Sensation, Special Affects, and the Moving Image', Early Modern Horror (Special Issue: Oxford Art Journal), Vol. 34, no. 3 (2011): pp. 393-414.
- 'Technologies of the New and the Death of the Medium in Early Modern Italy', Novità. Neuheitskonzepte in den Bildkünsten um 1600, eds. Ulrich Pfisterer and Gabriele Wimböck, Munich: Diaphanes, 2011, pp. 239-61.
- ‘Renaissance Faciality’, Oxford Art Journal, Vol. 32, no. 3 (2009): pp. 341-63.
- 'Death, History, and the Marvellous Lives of Tintoretto', Art History, Vol. 31, no. 5 (2008): pp. 665-90.
- ‘Still Life: An Interview with Laura Mulvey’, The Art Book, Vol. 14, no. 1 (2007): pp. 65-6.
- ‘New and Improved: Repetition as Originality in Italian Renaissance and Baroque Theory and Practice’, Art Bulletin, Vol. 86, no. 3 (2004): pp. 477-504.
- ‘Custodia degli occhi: Discipline and Desire in Post-Tridentine Italian Art’ in The Sensuous and the Church, ed. Tracy Cooper (Cambridge: Cambridge University Press, 2013).
|Potential doctoral students pursuing innovative research on early modern topics (c. 1500-1700) should get in contact with her directly to discuss their research project at: email@example.com|
She teaches undergraduate courses on:
- ‘Metamorphosis in the Italian Renaissance’;
- ‘Art and Power in Renaissance Venice’;
- ‘Tears of Eros: Love and Death in Italian Art c.1500-1700’. (2013-2014)
And offers graduate seminars on:
- ‘Theories of Authorship in Early Modern Italian Art’;
- 'Early Modern Horror'. (2013-2014)
(The following comments do not reflect the opinions of the Department of History of Art per se or UCL at large).
This is not the service industry.
As instructors in British Higher Education are being pushed by Senior Management Teams and other non-academic consultancy groups to consider themselves as providers of 'relevant vocational skills' for Students (who have been rebranded in the marketing-speak of both New Labour and the Cameronian Big Society as 'Clients'), it is my strict belief that education is the pursuit of knowledge by those Students—not 'Clients'—who seek to better themselves and the world in which they live, and not to fill in the pie-charts of 'Client Satisfaction Surveys'. A university education directed for the myopic goal of making money in the 'real world' is not an education, nor should it become the business of universities—that is the universe of business. Historically, the fast-track solution in which employment was the means to financial independence was the trajectory for those who could not afford an education because of either financial and/or academic restrictions. Now it is becoming the model even for those who have the privilege of spending the springtime of their young maturity learning how to learn. Not all of my Students will become art historians or work in the other varied art and culture industries, but it is my 'Aim and Objective' that all of my Students will become critical, thinking citizens of a future that they will help to build.
A list of publications is available from UCL's Institutional Research Information Service via the Iris link below.
Page last modified on 11 dec 13 11:34