नवमबर 2026 में अपडेट किया गया · हमारे लोकप्रियता स्कोर (प्रत्येक कृति के लिए खोज, विज़िट और ऑर्डर) के आधार पर रैंक किया गया · 18 कृतियाँ Lo Spagna की हमारे कैटलॉग में
संक्षेप में
Saint Catherine of Siena (1512) वह Lo Spagna की पेंटिंग है जो सबसे अधिक ध्यान आकर्षित करती है; इसका मूल आर्ट इंस्टीट्यूट ऑफ शिकागो, शिकागो में है। इसके बाद, दृष्टि The Agony in the Garden (1502) और The Dead Christ Supported by Two Angels (1487) पर जाती है। हमारे कैटलॉग में Lo Spagna की 18 कृतियों में से, ये 18 सबसे प्रसिद्ध हैं, जिनमें से प्रत्येक को उसके वर्ष, उसके संग्रहालय और उसके चिरस्थायी होने के कारण के साथ एक अद्वितीय मूल कृति के रूप में प्रस्तुत किया गया है।
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 · वालिस कलेक्शन
12
Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr SaintMuseu Nacional d'Art de Catalunya
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaNational Gallery of Ireland
14
Sienese Government Officials Receiving an Embassyबार्न्स फाउंडेशन
15
The Agony in the Gardenइंडियनपोलिस संग्रहालय कला
16
Saint Francis Receiving the Stigmataमेट्रोपॉलिटन म्यूज़ियम ऑफ़ आर्ट
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · एर्मिटेज संग्रहालय
इन मूल कृतियों में बार-बार आने वाले चार विषय, जिनमें से प्रत्येक का सबसे उत्कृष्ट उदाहरण यहाँ प्रस्तुत है।
वे 8 संग्रहालय जिनमें इस पृष्ठ की सर्वाधिक पेंटिंग्स मौजूद हैं।
| संग्रहालय | शहर | Lo Spagna की कृतियाँ | इस सूची की पेंटिंग्स |
|---|---|---|---|
 नेशनल गैलरी |
लंदन | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 आर्ट इंस्टीट्यूट ऑफ शिकागो |
शिकागो | 1 | Saint Catherine of Siena |
 वालिस कलेक्शन |
लंदन | 1 | The Ecstasy of Saint Mary Magdalene |
 Museu Nacional d'Art de Catalunya |
बार्सिलोना | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 National Gallery of Ireland |
डबलिन सिटी | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 बार्न्स फाउंडेशन |
फिलाडेल्फिया | 1 | Sienese Government Officials Receiving an Embassy |
 इंडियनपोलिस संग्रहालय कला |
इंडियानापोलिस | 1 | The Agony in the Garden |
 मेट्रोपॉलिटन म्यूज़ियम ऑफ़ आर्ट |
न्यूयॉर्क | 1 | Saint Francis Receiving the Stigmata |
उस दशक को चुनें जो उसकी पहचान है और उसकी मूल कृतियाँ देखें।
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), आर्ट इंस्टीट्यूट ऑफ शिकागो, शिकागो. इसके बाद The Agony in the Garden (1502) और The Dead Christ Supported by Two Angels (1487) आते हैं।
62 वर्ष की आयु: Saint Catherine of Siena 1512 का है, और Lo Spagna का जन्म 1450 में हुआ था।
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 और Christ Crowned with Thorns। ऊपर दी गई रैंकिंग में प्रत्येक का वर्ष और संग्रहालय दिया गया है।
हमारे कैटलॉग में Lo Spagna की 18 कृतियाँ हैं, जो 1487 से 1520 तक की हैं।
अधिकतर नेशनल गैलरी (लंदन), आर्ट इंस्टीट्यूट ऑफ शिकागो (शिकागो) और वालिस कलेक्शन (लंदन) में। ऊपर दी गई संग्रहालय तालिका में उन सभी की सूची दी गई है।
1510s में: इस पृष्ठ पर मौजूद 18 कृतियों में से 6 उस समय बनाई गई थीं, जिनमें से Saint Catherine of Siena इनमें से हैं।
इस पृष्ठ पर, सबसे पुरानी कृति The Dead Christ Supported by Two Angels (1487) है और नवीनतम The Ecstasy of Saint Mary Magdalene (1520) है।
इस पृष्ठ पर 18 कृतियों में Sky (3), Woman (2) और Landscape (2)
इस पृष्ठ पर मौजूद 18 कृतियों में से 2 के लिए Tempera On Panel।
इस पृष्ठ पर मूल कृतियों को देखते हुए, High renaissance।
The Agony in the Garden, Christ at Gethsemane और Christ Crowned with Thorns: नेशनल गैलरी, लंदन में इस पृष्ठ पर मौजूद कृतियों में से 3 मौजूद हैं।
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:
