10月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 18点の Lo Spagnaの作品がカタログにあります
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Saint Catherine of Siena (1512)はLo Spagnaの作品の中で最も注目を集めている絵画です。原画はシカゴのシカゴ美術館に所蔵されています。 その後、視線はThe Agony in the Garden (1502)とThe Dead Christ Supported by Two Angels (1487)へと移ります。 当カタログに含まれるLo Spagnaの18点の作品のうち、これら18点は最も有名な作品です。制作年、所蔵美術館、そして時代を超えて愛される理由とともに、一点もののオリジナル作品をご紹介します。
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 · ウォレス・コレクション
12
Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saintカタルーニャ国立美術館
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaNational Gallery of Ireland
14
Sienese Government Officials Receiving an Embassyバーンズ財団
15
The Agony in the Gardenインディアナポリス美術館
16
Saint Francis Receiving the Stigmataメトロポリタン美術館
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · エルミタージュ美術館
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
このページに掲載されている絵画を最も多く所蔵している 8 の美術館
| 美術館 | 都市 | Lo Spagnaの作品 | このリストの絵画 |
|---|---|---|---|
 ナショナル・ギャラリー |
ロンドン | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 シカゴ美術館 |
シカゴ | 1 | Saint Catherine of Siena |
 ウォレス・コレクション |
ロンドン | 1 | The Ecstasy of Saint Mary Magdalene |
 カタルーニャ国立美術館 |
バルセロナ | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 National Gallery of Ireland |
ダブリン | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 バーンズ財団 |
フィラデルフィア | 1 | Sienese Government Officials Receiving an Embassy |
 インディアナポリス美術館 |
インディアナポリス | 1 | The Agony in the Garden |
 メトロポリタン美術館 |
ニューヨーク | 1 | Saint Francis Receiving the Stigmata |
その時代を象徴する名作を見るために、年代を選択してください。
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)（シカゴ美術館, シカゴ）。次いでThe Agony in the Garden (1502)、The Dead Christ Supported by Two Angels (1487)が続きます。
62歳：Saint Catherine of Sienaは1512年の作品で、Lo Spagnaの生年は1450年です。
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 と Christ Crowned with Thorns。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。
当カタログには、1487年から1520年にかけて制作されたLo Spagnaによる18点の作品が収められています。
主にナショナル・ギャラリー (ロンドン), シカゴ美術館 (シカゴ) と ウォレス・コレクション (ロンドン)に所蔵されています。上記の美術館一覧にすべて記載されています。
1510s年：このページにある全18作品のうち、6作品がその時期に制作されました。そのうちSaint Catherine of Siena作品が含まれます。
このページでは、最も古い作品はThe Dead Christ Supported by Two Angels (1487)、最新の作品はThe Ecstasy of Saint Mary Magdalene (1520)です。
このページに掲載されている18点の作品におけるSky (3), Woman (2) と Landscape (2)
このページに掲載されている全18作品のうち、2作品のTempera On Panel
このページに掲載されているオリジナル作品から判断すると、High renaissanceです。
The Agony in the Garden, Christ at Gethsemane と Christ Crowned with Thorns：ナショナル・ギャラリー, ロンドンには、このページに掲載されている作品のうち3点が所蔵されています。
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:
