10월 2026 업데이트 · 인기 점수 기준 순위 (각 작품의 검색, 방문 및 주문 수) · 18점의 Lo Spagna 작품 (당사 카탈로그 기준)
요약하자면
Lo Spagna의 작품 중 하나를 알고 있다면, 아마도 시카고의 시카고 미술관에 전시된 Saint Catherine of Siena (1512)일 것입니다. The Agony in the Garden (1502)와 The Dead Christ Supported by Two Angels (1487)는 사람들이 즉각적으로 알아볼 수 있는 세 점의 작품 중 나머지 두 점입니다. Lo Spagna의 작품 18점이 등록되어 있습니다. 아래에서는 가장 잘 알려진 18점의 작품을 연도, 소장처, 주요 특징과 함께 소개합니다.
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…
이 작품들에서 가장 자주 등장하는 네 가지 주제와 각 주제를 대표하는 대표작입니다.
이 페이지에 있는 작품을 가장 많이 소장하고 있는 8개의 미술관
| 소장 미술관 | 도시 | Lo Spagna의 작품 | 이 목록의 작품들 |
|---|---|---|---|
 국립 미술관 |
런던 | 3 | The Agony in the Garden, Christ at Gethsemane, Christ Crowned with Thorns |
 시카고 미술관 |
시카고 | 1 | Saint Catherine of Siena |
 월리스 컬렉션 |
런던 | 1 | The Ecstasy of Saint Mary Magdalene |
 카탈루냐 국립 미술관 |
바르셀로나 | 1 | Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr Saint |
 아일랜드 국립 미술관 |
더블린 | 1 | The Virgin and Child with Saints Nicholas of Tolentino and Catherine of Siena |
 반즈 재단 |
필라델피아 | 1 | Sienese Government Officials Receiving an Embassy |
 인디애나폴리스 미술관 (Indianapolis Museum of Art) |
인디애나폴리스 | 1 | The Agony in the Garden |
 메트로폴리탄 미술관 |
뉴욕 | 1 | Saint Francis Receiving the Stigmata |
시대별 대표 작품을 확인해 보세요.
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…
리스트의 정점은 시카고 미술관, 시카고의 Saint Catherine of Siena (1512)입니다. 그 뒤를 이어 The Agony in the Garden (1502), The Dead Christ Supported by Two Angels (1487)가 차지했습니다.
62세. Lo Spagna은(는) 1450년에 태어났으며, Saint Catherine of Siena은(는) 1512년의 작품입니다.
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 및 Christ Crowned with Thorns. 위 목록에서 각 작품의 제작 연도와 소장 미술관을 확인하실 수 있습니다.
저희 카탈로그에는 1487년부터 1520년 사이에 제작된 Lo Spagna의 작품 18점이 있습니다.
대부분의 작품은 국립 미술관 (런던), 시카고 미술관 (시카고) 및 월리스 컬렉션 (런던)에서 만나보실 수 있습니다. 자세한 목록은 상단의 박물관 목록을 확인해 주세요.
1510s 기간은 그 어느 때보다도 많은 작품이 포함되어 있습니다. 이 페이지의 총 18점 중 6점이 해당 시기의 작품이며, 그중 Saint Catherine of Siena점이 포함되어 있습니다.
가장 오래된 작품은 The Dead Christ Supported by Two Angels (1487)이며, 가장 최근 작품은 The Ecstasy of Saint Mary Magdalene (1520)입니다.
이 페이지의 총 18점 중 Sky (3), Woman (2) 및 Landscape (2)점
이 페이지의 총 18점 중 2점에 Tempera On Panel이(가) 사용되었습니다.
이 페이지의 작품들에서 볼 수 있듯이 High renaissance입니다.
국립 미술관, 런던에 있는 The Agony in the Garden, Christ at Gethsemane 및 Christ Crowned with Thorns을(를) 포함하여 이 페이지에서 3점의 작품을 확인하실 수 있습니다.
네, 이 페이지에 있는 모든 작품은 원하시는 사이즈의 수작업 유화 복제화 또는 프린트로 구매하실 수 있습니다. 작품 상세 페이지에서 바로 주문해 보세요.
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:
