تحديث أكتوبر 2026 · مُرتبة حسب مؤشر شعبيتنا (عمليات البحث، والزيارات، والطلبات لكل عمل فني) · 18 أعمال لـ Lo Spagna في كتالوجنا
باختصار
تُعد Saint Catherine of Siena (1512) اللوحة الأكثر جذباً للأنظار للفنان Lo Spagna؛ والنسخة الأصلية محفوظة في معهد شيكاغو للفنون، شيكاغو. بعد ذلك، تتجه العين إلى The Agony in the Garden (1502) و The Dead Christ Supported by Two Angels (1487). من بين 18 من أعمال Lo Spagna في كتالوجنا، تُعد هذه 18 الأعمال هي الأكثر شهرة، حيث تُعرض كل واحدة منها كعمل أصلي فريد مع سنة إنتاجها، والمتحف الذي تضمّه، والسبب وراء خلودها.
In this portrait, Lo Spagna presents us with Saint Catherine of Siena. The figure before us is Catherine Benincasa of Siena, a woman whose spiritual life was defined by her affiliation with the Dominican order. She moves through the scene as a mystic, a person whose existence was marked by profound visions. History remembers her as one of only two female Doctors of the Church, a distinction that lends her…
The Agony in the Garden is a painting by Lo Spagna. This work is an oil on wood, measuring 60.3 × 67.3 cm. The subject matter of the piece is based on the Gospel of Mark (14: 32–43). The composition depicts a specific biblical scene through the medium of oil on a wooden support.
In this quiet religious art piece, titled Christ Crowned with Thorns, we encounter a profound depiction of Jesus Christ. The work is attributed to the hand of Lo Spagna, an artist who moved through the landscapes of Umbria and the Marches. His presence in Perugia and his subsequent connection to the workshop of Perugino helped shape the subtle, sculptural quality seen in this portrait. It is a work that demands…
The Ecstasy of Saint Mary Magdalene1520 · Wallace Collection
12
Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saintالمتحف الوطني للفنون في كتالونيا
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaNational Gallery of Ireland
14
Sienese Government Officials Receiving an Embassyمؤسسة بارنز
15
The Agony in the Gardenمتحف إنديانابوليس للفنون
16
Saint Francis Receiving the Stigmataمتحف المتروبوليتان للفنون
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · متحف الإرميتاج
المواضيع الأربعة التي تتكرر باستمرار في هذه الأعمال الأصلية، مع تقديم أروع مثال لكل منها.
المتاحف الـ 8 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Lo Spagna | لوحات من هذه القائمة |
|---|---|---|---|
 المعرض الوطني |
لندن | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 معهد شيكاغو للفنون |
شيكاغو | 1 | Saint Catherine of Siena |
 Wallace Collection |
لندن | 1 | The Ecstasy of Saint Mary Magdalene |
 المتحف الوطني للفنون في كتالونيا |
برشلونة | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 National Gallery of Ireland |
مدينة دبلن | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 مؤسسة بارنز |
فيلادلفيا | 1 | Sienese Government Officials Receiving an Embassy |
 متحف إنديانابوليس للفنون |
إنديانابوليس | 1 | The Agony in the Garden |
 متحف المتروبوليتان للفنون |
نيويورك | 1 | Saint Francis Receiving the Stigmata |
اختر عقداً لتشاهد العمل الأصلي الذي يجسده.
The Agony in the Garden is a painting by Lo Spagna. This work is an oil on wood, measuring 60.3 × 67.3 cm. The subject matter of the piece is based on the Gospel of Mark (14: 32–43). The composition depicts a specific biblical scene through the medium of oil on a wooden support.
In this portrait, Lo Spagna presents us with Saint Catherine of Siena. The figure before us is Catherine Benincasa of Siena, a woman whose spiritual life was defined by her affiliation with the Dominican order. She moves through the scene as a mystic, a person whose existence was marked by profound visions. History remembers her as one of only two female Doctors of the Church, a distinction that lends her…
Saint Catherine of Siena (1512)، معهد شيكاغو للفنون, شيكاغو. ويليها The Agony in the Garden (1502) وThe Dead Christ Supported by Two Angels (1487).
عمر 62 عاماً: يعود تاريخ Saint Catherine of Siena إلى 1512، وقد وُلد Lo Spagna في 1450.
Saint Catherine of Siena, The Agony in the Garden, The Dead Christ Supported by Two Angels, The Virgin and Child, The Nativity, Saint Francis Receiving the Stigmata, The Dead Christ Supported by the Virgin and Saint John, Saint Jerome dans le desert, Christ at Gethsemane و Christ Crowned with Thorns. يوضح التصنيف أعلاه سنة كل لوحة والمتحف التابعة له.
يضم كتالوجنا 18 من أعمال Lo Spagna، التي يعود تاريخها من 1487 إلى 1520.
توجد غالبيتها في المعرض الوطني (لندن), معهد شيكاغو للفنون (شيكاغو) و Wallace Collection (لندن). يدرج جدول المتاحف أعلاه جميعها.
في 1510s: تم إنجاز 6 من أصل 18 من الأعمال في هذه الصفحة خلال تلك الفترة، من بينها Saint Catherine of Siena.
في هذه الصفحة، أقدم الأعمال يعود إلى The Dead Christ Supported by Two Angels (1487) وأحدثها يعود إلى The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) و Landscape (2)، عبر 18 من الأعمال في هذه الصفحة.
Tempera On Panel، لـ 2 من أصل 18 من الأعمال في هذه الصفحة.
High renaissance، بناءً على الأعمال الأصلية في هذه الصفحة.
The Agony in the Garden, Christ at Gethsemane و Christ Crowned with Thorns: يضم المعرض الوطني, لندن 3 من الأعمال المعروضة في هذه الصفحة.
The name Lo Spagna carries the weight of a traveler's identity, a nod to Spanish origins etched into his Italian life. Born Giovanni di Pietro, he moved through the landscapes of Umbria and the Marches, leaving traces of his brush in places like Perugia, Todi, Trevi, and Spoleto. His presence in Perugia is noted as early as 1470, though by 1492, he was a recognized member of Perugino's workshop. This connection shaped much of what he produced. He worked with the same quiet precision found in the studios of his contemporaries, absorbing the soft lines and balanced compositions that defined the era.
His life followed the rhythms of the local guilds and civic duties. In 1516, he was granted citizenship in Spoleto, a city where he would eventually settle and find professional standing. He even rose to the position of Capitano delle Arti dei Pittori e degli Orefici in 1517. His personal life was tied to the local fabric through his marriage into the Martorelli family. The end of his work came abruptly; while working on a fresco cycle for San Giacomo di Spoleto, the plague took him in 1528, leaving his assistants, Dono Doni and Cecco di Bernardino d'Assisi, to finish the task he had begun.
To look closely at his panels is to see a specific way of handling cloth and flesh. While the influence of Perugino is visible in his early works, certain habits belong only to him. He used a calligraphic flare in his drapery, creating folds that sometimes seem to follow their own logic rather than the shape of the body beneath. There is a sculptural quality to the faces he painted, particularly the way he modeled an oval face or rendered bee-stung lips and slender, arched eyebrows. Even the small articulations of fingers and toes carry a distinct, careful touch.
His compositions often placed figures against quiet, mountainous landscapes. In these settings, the trees and horizons bear his specific hand, differing from the more standard approaches of his mentors. He also drew subtle inspiration from Raphael, though he remained rooted in the traditions of the Perugino workshop. His work remains a study in these fine, deliberate marks:
