Ekim 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 18 eser Lo Spagna kataloğumuzda
Özetle
Saint Catherine of Siena (1512), en çok ilgi çeken Lo Spagna tablosudur; orijinali Chicago, Şikago Sanat Enstitüsü bünyesinde bulunmaktadır. Ardından göz, The Agony in the Garden (1502) ve The Dead Christ Supported by Two Angels (1487) üzerine yoğunlaşır. Kataloğumuzdaki Lo Spagna imzalı 18 eser arasından seçilen bu 18 eser; yapıldığı yıl, sergilendiği müze ve zamana meydan okuma nedenleriyle birlikte sunulan en ünlü ve her biri eşsiz orijinal çalışmalardır.
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 Sanat Müzesi
16
Saint Francis Receiving the StigmataMetropolitan Sanat Müzesi
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Hermitaj Müzesi
Bu orijinal eserlerde en sık karşılaşılan ve her biri en seçkin örneğine sahip olan dört konu.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 8 müze.
| Müze | Şehir | Lo Spagna Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 National Gallery |
Londra | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Şikago Sanat Enstitüsü |
Chicago | 1 | Saint Catherine of Siena |
 Wallace Collection |
Londra | 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 |
Philadelphia | 1 | Sienese Government Officials Receiving an Embassy |
 Indianapolis Sanat Müzesi |
Indianapolis | 1 | The Agony in the Garden |
 Metropolitan Sanat Müzesi |
New York | 1 | Saint Francis Receiving the Stigmata |
O dönemi tanımlayan orijinal eseri görmek için bir on yıl seçin.
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), Şikago Sanat Enstitüsü, Chicago. Ardından The Agony in the Garden (1502) ve The Dead Christ Supported by Two Angels (1487) geliyor.
62 yaşında: Saint Catherine of Siena 1512 yılına aittir ve Lo Spagna 1450 yılında doğmuştur.
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 ve Christ Crowned with Thorns. Yukarıdaki sıralama, her birinin yapım yılını ve bulunduğu müzeyi göstermektedir.
Kataloğumuzda Lo Spagna tarafından 1487 ile 1520 tarihleri arasında üretilmiş 18 eser bulunmaktadır.
Çoğunlukla National Gallery (Londra), Şikago Sanat Enstitüsü (Chicago) ve Wallace Collection (Londra) bünyesinde yer almaktadır. Yukarıdaki müze tablosu tümünü listelemektedir.
1510s döneminde: Bu sayfadaki 18 eserin 6 tanesi o dönemde yapılmıştır, bunların Saint Catherine of Siena tanesi ise Saint Catherine of Siena arasındadır.
Bu sayfadaki en eski eser The Dead Christ Supported by Two Angels (1487), en yeni eser ise The Ecstasy of Saint Mary Magdalene (1520)'dir.
Sky (3), Woman (2) ve Landscape (2), bu sayfadaki 18 eser genelinde.
Bu sayfadaki 18 eserin 2 tanesi Tempera On Panel türündedir.
bu sayfadaki orijinallerine bakılırsa High renaissance,
The Agony in the Garden, Christ at Gethsemane ve Christ Crowned with Thorns: National Gallery, Londra, bu sayfadaki eserlerden 3 tanesine ev sahipliği yapmaktadır.
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:
