Ενημερωμένο Οκτώβριος 2026 · κατάταξη βάσει του σκορ δημοφιλίας μας (αναζητήσεις, επισκέψεις και παραγγελίες για κάθε έργο) · 18 έργα του Lo Spagna στον κατάλογό μας
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Το έργο Saint Catherine of Siena (1512) είναι το ποίτευμα του Lo Spagna που τραβάει τα περισσότερα βλέμματα· το πρωτότυπο ανήκει στο Art Institute of Chicago, Σικάγκο. Μετά από αυτό, το βλέμμα στρέφεται στο The Agony in the Garden (1502) και στο The Dead Christ Supported by Two Angels (1487). Ανάμεσα στα 18 έργα του Lo Spagna στον κατάλογό μας, αυτά τα 18 είναι τα πιο διάσημα, το καθένα ένα μοναδικό πρωτότυπο που παρουσιάζεται με την χρονολογία του, το μουσείο του και τον λόγο για τον οποίο παραμένει αιώνιο.
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 SaintΜουσείο Εθνικής Τέχνης της Καταλονίας
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaΕθνική Γκαλερί της Ιρλανδίας
14
Sienese Government Officials Receiving an EmbassyBarnes Foundation
15
The Agony in the GardenIndianapolis Museum of Art
16
Saint Francis Receiving the StigmataΜετροπολιτικό Μουσείο Τέχνης
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Ερμιτάζ
Τα τέσσερα θέματα που εμφανίζονται πιο συχνά σε αυτά τα πρωτότυπα έργα, το καθένα με το εξαιρετικό του παράδειγμα.
Τα 8 μουσεία που φιλοξενούν το μεγαλύτερο μέρος των έργων σε αυτήν τη σελίδα.
| Μουσείο | Πόλη | Έργα του Lo Spagna | Πάτρια από αυτή τη λίστα |
|---|---|---|---|
 Εθνική Πινακοθήκη Λονδίνου |
Λονδίνο | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Art Institute of Chicago |
Σικάγκο | 1 | Saint Catherine of Siena |
 Wallace Collection |
Λονδίνο | 1 | The Ecstasy of Saint Mary Magdalene |
 Μουσείο Εθνικής Τέχνης της Καταλονίας |
Βαρκελώνη | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 Εθνική Γκαλερί της Ιρλανδίας |
Δουβλίνο | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 Barnes Foundation |
Φιλαδέλφεια | 1 | Sienese Government Officials Receiving an Embassy |
 Indianapolis Museum of Art |
Ιντιανάπολις | 1 | The Agony in the Garden |
 Μετροπολιτικό Μουσείο Τέχνης |
Νέα Υόρκη | 1 | Saint Francis Receiving the Stigmata |
Επιλέξτε μια δεκαετία για να δείτε το πρωτότυπο έργο που την χαρακτηρίζει.
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, Σικάγκο. Στη συνέχεια ακολουθούν το The Agony in the Garden (1502) και το The Dead Christ Supported by Two Angels (1487).
62 ετών: το έργο Saint Catherine of Siena είναι του 1512, και ο/η Lo Spagna γεννήθηκε το 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 και Christ Crowned with Thorns. Η κατάταξη παραπάνω αναγράφει το έτος και το μουσείο για το κάθε έργο.
Ο κατάλογός μας περιλαμβάνει 18 έργα του Lo Spagna, με ημερομηνίες από 1487 έως 1520.
Κυρίως σε Εθνική Πινακοθήκη Λονδίνου (Λονδίνο), Art Institute of Chicago (Σικάγκο) και Wallace Collection (Λονδίνο). Ο πίνακας μουσείου παραπάνω τους περιλαμβάνει όλους.
Κατά την περίοδο 1510s: 6 από τα 18 έργα σε αυτήν τη σελίδα δημιουργήθηκαν τότε, με Saint Catherine of Siena από αυτά να είναι μοναδικά.
Σε αυτήν τη σελίδα, το παλαιότερο είναι The Dead Christ Supported by Two Angels (1487) και το νεότερο The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) και Landscape (2), σε συνολικά 18 έργα σε αυτήν τη σελίδα.
Tempera On Panel, για 2 από τα 18 έργα σε αυτήν τη σελίδα.
High renaissance, όπως προκύπτει από τα πρωτότυπα σε αυτήν τη σελίδα.
The Agony in the Garden, Christ at Gethsemane και Christ Crowned with Thorns: το Εθνική Πινακοθήκη Λονδίνου, Λονδίνο διαθέτει 3 από τα έργα σε αυτήν τη σελίδα.
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:
