Oppdatert October 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 18 verk av Lo Spagna i vår katalog
Kort fortalt
Saint Catherine of Siena (1512) er maleriet av Lo Spagna som vekker mest oppmerksomhet; originalen befinner seg i Art Institute of Chicago, Chicago. Deretter går blikket til The Agony in the Garden (1502) og The Dead Christ Supported by Two Angels (1487). Blant de 18 verkene til Lo Spagna i vår katalog, er disse 18 de mest kjente – hver og en et unikt originalverk presentert med sitt årstall, sitt museum og årsaken til at det består.
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 Museum of Art
16
Saint Francis Receiving the StigmataMetropolitan Museum of Art
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Eremitasjen
De fire motivene som går igjen hyppigst i disse originalverkene, hver med sitt fremste eksempel.
De 8 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Lo Spagna | Malerier fra denne listen |
|---|---|---|---|
 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 Museum of Art |
Indianapolis | 1 | The Agony in the Garden |
 Metropolitan Museum of Art |
New York | 1 | Saint Francis Receiving the Stigmata |
Velg et tiår for å se originalverket som definerer det.
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. Deretter følger The Agony in the Garden (1502) og The Dead Christ Supported by Two Angels (1487).
62 år gammel: Saint Catherine of Siena er fra 1512, og Lo Spagna ble født i 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 og Christ Crowned with Thorns. Rangeringen ovenfor viser årstall og museum for hvert verk.
Vår katalog inneholder 18 verk av Lo Spagna, datert fra 1487 til 1520.
Hovedsakelig i National Gallery (London), Art Institute of Chicago (Chicago) og Wallace Collection (London). Museumslisten ovenfor viser alle.
I 1510s: 6 av de 18 verkene på denne siden ble laget da, Saint Catherine of Siena av dem.
På denne siden er det eldste The Dead Christ Supported by Two Angels (1487) og det nyeste The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) og Landscape (2), fordelt på 18 verk på denne siden.
Tempera On Panel, for 2 av de 18 verkene på denne siden.
High renaissance, basert på originalene på denne siden.
The Agony in the Garden, Christ at Gethsemane og Christ Crowned with Thorns: National Gallery, London har 3 av verkene på denne siden.
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:
