Обновено Ноември 2026 · класирано според нашия индекс на популярност (търсения, посещения и поръчки за всяко произведение) · 18 творби на Lo Spagna в нашия каталог
Накратко
Saint Catherine of Siena (1512) е картината на Lo Spagna, която привлича най-много погледи; оригиналът се намира в Art Institute of Chicago, Чикаго. След това погледът се насочва към The Agony in the Garden (1502) и The Dead Christ Supported by Two Angels (1487). Сред 18 произведения на Lo Spagna в нашия каталог, тези 18 са най-известните – всяко от тях е уникален оригинал, представен с годината на създаване, музея и причината за неговата вечност.
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 SaintНационален музей за изкуствата в Каталония
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaНационална галерия в Ирландия
14
Sienese Government Officials Receiving an EmbassyBarnes Foundation
15
The Agony in the GardenIndianapolis Museum of Art
16
Saint Francis Receiving the StigmataМетрополитън Музей на изкуствата
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Държавен музей „Ермитаж“
Четирите найчесто срещани теми в тези оригинални творби, всяка с най-добрия си пример.
8 музея, които притежават най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Lo Spagna | Картини от този списък |
|---|---|---|---|
 Национална галерия |
Лондон | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Art Institute of Chicago |
Чикаго | 1 | Saint Catherine of Siena |
 Wallace Collection |
Лондон | 1 | The Ecstasy of Saint Mary Magdalene |
 Национален музей за изкуствата в Каталония |
Барселона | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 Национална галерия в Ирландия |
Dublin City | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 Barnes Foundation |
Филаделфия | 1 | Sienese Government Officials Receiving an Embassy |
 Indianapolis Museum of Art |
Индианаполис | 1 | The Agony in the Garden |
 Метрополитън Музей на изкуствата |
Ню Йорк | 1 | Saint Francis Receiving the Stigmata |
Изберете десетилетие, за да видите оригиналната творба, която го определя.
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), Art Institute of Chicago, Чикаго. Следват The Agony in the Garden (1502) и The Dead Christ Supported by Two Angels (1487).
62 години: Saint Catherine of Siena е от 1512 г., а Lo Spagna е роден/а в 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 и Christ Crowned with Thorns. Класацията по-горе показва годината и музея за всяко от тях.
В нашия каталог са представени 18 произведения на Lo Spagna, датирани от 1487 до 1520.
Предимно в Национална галерия (Лондон), Art Institute of Chicago (Чикаго) и Wallace Collection (Лондон). В горната таблица с музеи са изброени всички тях.
В 1510s: 6 от 18 произведенията на тази страница са създадени тогава, като Saint Catherine of Siena са сред тях.
На тази страница най-старата е The Dead Christ Supported by Two Angels (1487), а най-новата е The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) и Landscape (2), разпределени в 18 произведения на тази страница.
Tempera On Panel, за 2 от 18 произведения на тази страница.
High renaissance, судейки по оригиналите на тази страница.
The Agony in the Garden, Christ at Gethsemane и Christ Crowned with Thorns: Национална галерия, Лондон притежава 3 от произведенията на тази страница.
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:
