Оновлено Жовтень 2026 · за рейтингом нашої популярності (кількість пошукових запитів, переглядів та замовлень для кожної роботи) · 18 робіт Lo Spagna у нашому каталозі
Коротко кажучи
Saint Catherine of Siena (1512) — це картина Lo Spagna, яка привертає найбільше уваги; оригінал зберігається в Art Institute of Chicago, Чикаго. Після цього погляд переходить на The Agony in the Garden (1502) та The Dead Christ Supported by Two Angels (1487). Серед 18 робіт Lo Spagna у нашому каталозі ці 18 є найвідомішими: кожна з них — унікальний оригінал із зазначенням року створення, музею та причини її безсмертя.
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 SaintМузей Національного мистецтва Каталонії
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaНаціональна галерея Ірландії
14
Sienese Government Officials Receiving an EmbassyФонд Барнса
15
The Agony in the GardenІндіанапольський музей мистецтв
16
Saint Francis Receiving the StigmataМетрополітен-музей
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · Державний музей-заповідник «Ермітаж»
Чотири сюжети, які найчастіше зустрічаються в цих оригіналах, кожен із найкращим прикладом.
8 музеїв, у яких зберігається найбільша кількість картин із цього списку.
| Музей | Місто | Твори Lo Spagna | Картини зі цього списку |
|---|---|---|---|
 Національна галерея |
Лондон | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 Art Institute of Chicago |
Чикаго | 1 | Saint Catherine of Siena |
 Wallace Collection |
Лондон | 1 | The Ecstasy of Saint Mary Magdalene |
 Музей Національного мистецтва Каталонії |
Барселона | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 Національна галерея Ірландії |
Дублін | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 Фонд Барнса |
Філадельфія | 1 | Sienese Government Officials Receiving an Embassy |
 Індіанапольський музей мистецтв |
Індіанаполіс | 1 | The Agony in the Garden |
 Метрополітен-музей |
Нью-Йорк | 1 | Saint Francis Receiving the Stigmata |
Оберіть десятиліття, щоб побачити оригінальний твір, який його визначає.
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, Чикаго. Далі йдуть The Agony in the Garden (1502) та The Dead Christ Supported by Two Angels (1487).
62 років: Saint Catherine of Siena датована 1512 роком, а Lo Spagna народився(-лася) у 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 та Christ Crowned with Thorns. У рейтингу вище вказано рік створення та музей для кожної картини.
Наш каталог містить 18 робіт Lo Spagna, датованих періодом з 1487 по 1520.
Переважно в Національна галерея (Лондон), Art Institute of Chicago (Чикаго) та Wallace Collection (Лондон). У таблиці музеїв вище наведено їхній повний перелік.
У 1510s: 6 із 18 робіт на цій сторінці були створені тоді, серед них Saint Catherine of Siena.
На цій сторінці найдавніша робота датована The Dead Christ Supported by Two Angels (1487), а найновіша — The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) та Landscape (2), у 18 роботах на цій сторінці.
Tempera On Panel, для 2 із 18 робіт на цій сторінці.
High renaissance, судячи з оригіналів на цій сторінці.
The Agony in the Garden, Christ at Gethsemane та Christ Crowned with Thorns: Національна галерея, Лондон зберігає 3 робіт із цієї сторінки.
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:
