Frissítve: november 2026 · rangsorolva népszerűségi pontszámunk alapján (minden mű keresései, látogatásai és megrendelései alapján) · 18 mű Lo Spagna alkotása a katalógusunkban
Röviden
Saint Catherine of Siena (1512) az a Lo Spagna festmény, amely a legtöbb tekintetet felvonja; az eredeti mű a Art Institute of Chicago gyűjteményében található, Chicago. Ezután a tekintet The Agony in the Garden (1502) és The Dead Christ Supported by Two Angels (1487) elemre irányul. A Lo Spagna 18 műve közül a katalógusunkban megtalálható 18 legnépesebb alkotás, melyeket az év, a múzeum és az örökévalóságának okai kísérnek.
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 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 EmbassyBarnes Foundation
15
The Agony in the GardenIndianapolis Művészeti Múzeum
16
Saint Francis Receiving the StigmataMetropolitan Művészeti Múzeum
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Hermitaeus-múzeum
A négy leggyakorobban előforduló téma ebben az eredeti művekben, mindegyik a legkiválóbb példájával.
A 8 olyan múzeum, amely a legtöbb ezen az oldalon szereplő festményet őrzi.
| Múzeum | Város | Lo Spagna művei | Ebből a listából származó festmények |
|---|---|---|---|
 National Gallery |
London | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Art Institute of Chicago |
Chicago | 1 | Saint Catherine of Siena |
 Wallace Collection |
London | 1 | The Ecstasy of Saint Mary Magdalene |
 Museu Nacional d'Art de Catalunya |
Barcelona | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 National Gallery of Ireland |
Dublin | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 Barnes Foundation |
Philadelphia | 1 | Sienese Government Officials Receiving an Embassy |
 Indianapolis Művészeti Múzeum |
Indianapolis | 1 | The Agony in the Garden |
 Metropolitan Művészeti Múzeum |
New York | 1 | Saint Francis Receiving the Stigmata |
Váassz ki egy évtizedet, hogy megnézhesd az azt meghatározó eredetiműveket.
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, Chicago. Ezután The Agony in the Garden (1502) és The Dead Christ Supported by Two Angels (1487) következik.
62 éves: Saint Catherine of Siena 1512-ből származik, Lo Spagna pedig 1450-ben született.
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 és Christ Crowned with Thorns. A fenti rangsor a művek évszamarát és a múzeumát jelzi.
Katalógusunkban 18 mű található Lo Spagna alkotótól, 1487 és 1520 év közötti időszakból.
Leginkább National Gallery (London), Art Institute of Chicago (Chicago) és Wallace Collection (London) található. A fenti múzeumi táblázatban mindegyik felsorolásra került.
1510s alatt: a jelen laphonon található 18 műből 6 készült ebben az időszakban, köztük Saint Catherine of Siena.
Ezen az oldalon a leghitelesebb The Dead Christ Supported by Two Angels (1487), a legutóbbi pedig The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) és Landscape (2), a jelen oldalon található 18 műművészeti alkotás között.
Tempera On Panel, a jelen oldalon található 18 műből 2 darab esetén.
High renaissance, ezen az oldalon található eredetiek alapján.
The Agony in the Garden, Christ at Gethsemane és Christ Crowned with Thorns: a National Gallery, London 3 művet őrzi ezen az oldalon.
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:
