Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 18 verk av Lo Spagna i vår katalog
Kortfattat
Saint Catherine of Siena (1512) är den målning av Lo Spagna som drar till sig flest blickar; originalet finns på Art Institute of Chicago, Chicago. Därefter dras blicken till The Agony in the Garden (1502) och The Dead Christ Supported by Two Angels (1487). Bland de 18 verk av Lo Spagna i vår katalog är dessa 18 de mest kända, var och en ett unikt original presenterat med sitt år, sitt museum och anledningen till dess tidlösa betydelse.
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 konstmuseum
16
Saint Francis Receiving the StigmataMetropolitan Museum of Art
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Ermitaget
De fyra motiv som återkommer oftast i dessa originalverk, var och ett med sitt främsta exempel.
De 8 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Lo Spagna | Målningar från denna lista |
|---|---|---|---|
 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 konstmuseum |
Indianapolis | 1 | The Agony in the Garden |
 Metropolitan Museum of Art |
New York | 1 | Saint Francis Receiving the Stigmata |
Välj ett decennium för att se originalverket som definierar 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. The Agony in the Garden (1502) och The Dead Christ Supported by Two Angels (1487) följer efter.
62 år gammal: Saint Catherine of Siena är från 1512, och Lo Spagna föddes 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 och Christ Crowned with Thorns. Rankingen ovan visar varje verks årtal och museum.
Vår katalog innehåller 18 verk av Lo Spagna, daterade från 1487 till 1520.
Främst i National Gallery (London), Art Institute of Chicago (Chicago) och Wallace Collection (London). Museitabellen ovan listar alla.
Under 1510s: 6 av de 18 verk som finns på denna sida skapades då, varav Saint Catherine of Siena.
På den här sidan är det tidigaste The Dead Christ Supported by Two Angels (1487) och det senaste The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) och Landscape (2), fördelat på 18 verk på denna sida.
Tempera On Panel, för 2 av de 18 verk som finns på denna sida.
High renaissance, om man dömer efter originalen på denna sida.
The Agony in the Garden, Christ at Gethsemane och Christ Crowned with Thorns: National Gallery, London har 3 av verken på denna sida.
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:
