Atnaujinta spalis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 18 Lo Spagna darbai mūsų kataloge
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Saint Catherine of Siena (1512) yra viena矚 most žiūrėlių pritraukiančių Lo Spagna tapierių; originalas saugomas Art Institute of Chicago, Čikagos. Po to akmuo patenka į The Agony in the Garden (1502) ir The Dead Christ Supported by Two Angels (1487). Iš 18 Lo Spagna darbų mūsų kataloge šios 18 yra garsiausios – kiekvienas yra unikali originali dai̇lia, pateikta su jos metais, muziejumi ir priežastimi, kodėl ji išlieka per amžius.
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 muziejus
16
Saint Francis Receiving the StigmataMetropolitano meno muziejus
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Ermitažas
Ketverios temos, dažniausiai pasikrausto originaluose, kiekvienos su savo puikiausiu pavyzdžiu.
8 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Lo Spagna darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 National Gallery |
Londonas | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Art Institute of Chicago |
Čikagos | 1 | Saint Catherine of Siena |
 Wallace Collection |
Londonas | 1 | The Ecstasy of Saint Mary Magdalene |
 Museu Nacional d'Art de Catalunya |
Barselona | 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 |
Filadelfija | 1 | Sienese Government Officials Receiving an Embassy |
 Indianapolis muziejus |
Indianapolis | 1 | The Agony in the Garden |
 Metropolitano meno muziejus |
Niujorkas | 1 | Saint Francis Receiving the Stigmata |
Pasirinkite dešimtmetį, kad pamatytėte jį apibrėžusį originalą.
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, Čikagos. Toliau seka The Agony in the Garden (1502) ir The Dead Christ Supported by Two Angels (1487).
62 metų amžiaus: Saint Catherine of Siena sukurta 1512 m. Nr. Lo Spagna gimė 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 ir Christ Crowned with Thorns. Viršuje esančioje reitingo sąraše nurodyta kiekvieno kūrinio metis ir muziejus.
Mūsų kataloge yra 18 Lo Spagna darbų, skirtų laikotarpiui nuo 1487 iki 1520.
Daugiausia – National Gallery (Londonas), Art Institute of Chicago (Čikagos) ir Wallace Collection (Londonas). Viršuje esančiame muziejų sąraše yra visi jie.
1510s laikotarpiu: 6 iš 18 šioje pusėje esančių darbų buvo sukurtos tada, iš jų Saint Catherine of Siena.
Šioje pusėje seniausias darbas yra The Dead Christ Supported by Two Angels (1487), o naujausias – The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) ir Landscape (2) iš 18 šioje pusėje esamų darbų.
Tempera On Panel, iš 18 šios puslapio darbų – 2.
High renaissance, judging by the originals on this page.
The Agony in the Garden, Christ at Gethsemane ir Christ Crowned with Thorns: National Gallery, Londonas kolekcijoje yra 3 šioje pusėje esančių darbų.
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:
