更新于 November 2026 · 基于我们的流行度评分排名（每件作品的搜索量、访问量及订单量） · 18 件 Lo Spagna 作品收录于我们的目录中
简而言之
Saint Catherine of Siena (1512) 是 Lo Spagna 最受瞩目的画作；原作收藏于 芝加哥 的 芝加哥艺术学院。 随后，目光会移向 The Agony in the Garden (1502) 和 The Dead Christ Supported by Two Angels (1487)。 在 Lo Spagna 的 18 件作品中，这 18 件最为闻名；每一件都是独一无二的原作，并附有创作年份、馆藏机构及其经久不衰的原因。
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 · 威廉斯收藏馆
12
Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint加泰罗尼亚国家艺术博物馆
13
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena爱尔兰国家美术馆
14
Sienese Government Officials Receiving an Embassy巴恩斯基金会
15
The Agony in the Garden印第安纳波利斯艺术博物馆
16
Saint Francis Receiving the Stigmata大都会艺术博物馆
17
Virgin and ChildMusée de Tessé
18
Madonna and Child1515 · 冬宫博物馆
这些原作中反复出现的四个主题，各有一个最杰出的范例。
收藏了本页中大部分画作的 8 家博物馆。
| 博物馆 | 城市 | Lo Spagna 的作品 | 此列表中的画作 |
|---|---|---|---|
 国家美术馆 |
伦敦 | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 芝加哥艺术学院 |
芝加哥 | 1 | Saint Catherine of Siena |
 威廉斯收藏馆 |
伦敦 | 1 | The Ecstasy of Saint Mary Magdalene |
 加泰罗尼亚国家艺术博物馆 |
巴塞罗那 | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 爱尔兰国家美术馆 |
都柏林 | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 巴恩斯基金会 |
费城 | 1 | Sienese Government Officials Receiving an Embassy |
 印第安纳波利斯艺术博物馆 |
印第安纳波利斯 | 1 | The Agony in the Garden |
 大都会艺术博物馆 |
纽约 | 1 | Saint Francis Receiving the Stigmata |
选择一个年代，探索定义该时代的原创杰作。
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)，芝加哥艺术学院, 芝加哥。紧随其后的是 The Agony in the Garden (1502) 和 The Dead Christ Supported by Two Angels (1487)。
62岁：Saint Catherine of Siena创作于1512年，Lo Spagna出生于1450年。
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 及 Christ Crowned with Thorns。上方排名显示了每件作品的创作年份及馆藏机构。
我们的目录收录了 18 件 Lo Spagna 的作品，创作年代从 1487 年至 1520 年。
多见于 国家美术馆 (伦敦), 芝加哥艺术学院 (芝加哥) 及 威廉斯收藏馆 (伦敦)。上方的博物馆列表列出了所有相关机构。
在 1510s 期间：本页 18 件作品中有 6 件创作于该时期，其中包含 Saint Catherine of Siena 件作品。
在本页面中，最早的作品创作于 The Dead Christ Supported by Two Angels (1487)，最晚的创作于 The Ecstasy of Saint Mary Magdalene (1520)。
Sky (3), Woman (2) 及 Landscape (2)，共计 18 件作品。
Tempera On Panel，共计 2 件（本页共有 18 件作品）。
根据本页面的原作，High renaissance
The Agony in the Garden, Christ at Gethsemane 及 Christ Crowned with Thorns：国家美术馆, 伦敦收藏了本页中 3 件作品。
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:
