Yvonne Dohna holds a B.A. in Law from the University of Kiel, and she specialized in International law in Lausanne, Cambridge. She then received a B.A. in Art History, and a doctorate in Philosophy at the University of Heidelberg with a thesis on “Antonio Canova and the Tradition in Art."
Since 2006 she has been Adjunct Assistant Professor at John Cabot University, specialized in Methods and Theories in Art History, and since 2009 she has the chair for Modern Art in the Department of “Storia e Beni Culturali della Chiesa” at the Università Pontificia Gregoriana in Rome. She has been Visiting Professor in the Department of Art History at the Hebrew University in Jerusalem, where she taught a course on “Theory of the Museum”. She teaches periodically a cycle of lessons on the “ Old and the New Testament and art” at the University of Monterrey (UPAEP) in Mexico. For the past five years she has been giving seminars in “Sacred Art and Music” together with a Professor of Music at the Jesuit House in Mannheim.
Her research focuses on the philosophical/ theological and anthropological dimensions of Art. Her book on “Art as a Mirror of Faith: The masculine and feminine experience of the Lord in Raphael and Michelangelo” was published last year in German. The Italian version is scheduled to be published next year by the Accademia Raffaello in Urbino. She is currently working on a book entitled “The Iconography of Aesthetics.”
In 2002 she founded the “School of Seeing” for children and adults who want to learn to interpret works of art. In 2010 she curated an exhibition on “The Image of the Body” with contemporary artists at the Pinacoteca of Gaeta instructing the public in reading the anthropological dimension in art. After a long experience of planning and supervising the interdisciplinary lecture series “Incontro tra Chiesa ed Arte“ (Encounter Between Church and Art), she started a project in collaboration with the University IUAV in Venice for a contemporary decoration of a Rococo church, where she led the dialogue between the Church and the contributing artists, and provided those artists with the necessary theological and liturgical skills to produce the relevant objects.