Обновлено Октябрь 2026 · рейтинг на основе нашего показателя популярности (количество поисковых запросов, посещений и заказов для каждой работы) · 18 работ Lo Spagna в нашем каталоге
Вкратце
Saint Catherine of Siena (1512) — это самая популярная картина Lo Spagna; оригинал находится в Институт искусств Чикаго, Чикаго. Затем взгляд переходит на The Agony in the Garden (1502) и The Dead Christ Supported by Two Angels (1487). Из 18 работ Lo Spagna в нашем каталоге эти 18 являются самыми известными: каждая из них — уникальный оригинал с указанием года создания, музея и причины ее бессмертия.
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 SaintНациональный музей искусства Каталонии
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaНациональная галерея Ирландии
14
Sienese Government Officials Receiving an EmbassyФонд Барнс
15
The Agony in the GardenМузей искусства Индианаполиса
16
Saint Francis Receiving the StigmataМетрополитен-музей
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Государственный Эрмитаж
Четыре темы, которые чаще всего встречаются в этих оригиналах, каждая из которых представлена своим лучшим образцом.
8 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Lo Spagna | Картины из этого списка |
|---|---|---|---|
 Национальная галерея |
Лондон | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Институт искусств Чикаго |
Чикаго | 1 | Saint Catherine of Siena |
 Wallace Collection |
Лондон | 1 | The Ecstasy of Saint Mary Magdalene |
 Национальный музей искусства Каталонии |
Барселона | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 Национальная галерея Ирландии |
Дублин | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 Фонд Барнс |
Филадельфия | 1 | Sienese Government Officials Receiving an Embassy |
 Музей искусства Индианаполиса |
Индианаполис | 1 | The Agony in the Garden |
 Метрополитен-музей |
Нью-Йорк | 1 | Saint Francis Receiving the Stigmata |
Выберите десятилетие, чтобы увидеть шедевр, определяющий его.
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), Институт искусств Чикаго, Чикаго. Далее следуют The Agony in the Garden (1502) и The Dead Christ Supported by Two Angels (1487).
62 лет: Saint Catherine of Siena датируется 1512 годом, а Lo Spagna родился в 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 и Christ Crowned with Thorns. В рейтинге выше указаны год создания и музей для каждой работы.
В нашем каталоге представлено 18 работ Lo Spagna, созданных в период с 1487 по 1520.
В основном в Национальная галерея (Лондон), Институт искусств Чикаго (Чикаго) и Wallace Collection (Лондон). В таблице выше перечислены все музеи.
В 1510s: 6 из 18 работ на этой странице были созданы в этот период, Saint Catherine of Siena из них.
На этой странице самая ранняя работа датирована The Dead Christ Supported by Two Angels (1487), а самая поздняя — The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) и Landscape (2) в 18 работах на этой странице.
Tempera On Panel, для 2 из 18 работ на этой странице.
High renaissance, судя по оригиналам на этой странице.
The Agony in the Garden, Christ at Gethsemane и Christ Crowned with Thorns: в коллекции Национальная галерея, Лондон находится 3 работ со страницы.
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:
