Posodobljeno oktober 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 18 del v našem katalogu avtorja Lo Spagna
Kratek opis
Če poznate eno sliko avtorja Lo Spagna, je to verjetno Saint Catherine of Siena (1512), ki je razpostavljena v muzeju Art Institute of Chicago, Chicago. The Agony in the Garden (1502) in The Dead Christ Supported by Two Angels (1487) dopolnjujeta tri dela, ki jih ljudje takoj prepoznajo. Naš katalog vsebuje 18 del avtorja Lo Spagna. Spodaj je 18 najbolj znanih del, vsako z letom nastanja, informacijo o tem, kje je zasnovano in kaj ga dela posebnega.
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…
Altarpiece of the Virgin with Saints Agatha, Stephen, Francis and a Martyr SaintNarodni muzej umetnosti Katalonije
Pridobite ročno naslikano from $500 →
The Virgin and Child with Saints Nicholas of Tolentino and Catherine of SienaNational Gallery of Ireland
Naročite to delo from $250 →
Sienese Government Officials Receiving an EmbassyBarnes Foundation
Pridobite ročno naslikano from $500 →
Četiri teme, ki se v teh delih najpogosteje pojavljajo, vsaka z svojim najbolj znanim primerom.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Lo Spagna | Slike iz tega seznama |
|---|---|---|---|
 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 |
 Narodni muzej umetnosti Katalonije |
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 Museum of Art |
Indianapolis | 1 | The Agony in the Garden |
 Metropolitanski muzej umetnosti |
New York | 1 | Saint Francis Receiving the Stigmata |
Izberite desetletje, da si ogledate njegovo najboljše delo.
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…
Na vrhu liste je Saint Catherine of Siena (1512), Art Institute of Chicago, Chicago. Takoj za njim sta The Agony in the Garden (1502) in The Dead Christ Supported by Two Angels (1487).
Starosti 62 let. Lo Spagna se je rodil(a) leta 1450, njegovo/njino delo Saint Catherine of Siena pa izvira iz leta 1512.
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 in Christ Crowned with Thorns. Leto in muzej vsakega dela boste našli v zgornjem seznamu.
V našem katalogu je 18 del umetnika Lo Spagna, datiranih od 1487 do 1520.
Večino njih boste našli v National Gallery (London), Art Institute of Chicago (Chicago) in Wallace Collection (London). Na seznamu muzejev zgoraj je naveden celoten pregled.
V obdobju 1510s, bolj kot koli drugič: 6 od 18 del na tej strani izvira iz tega obdobja, med katerimi je Saint Catherine of Siena.
Najstarejše delo tukaj je The Dead Christ Supported by Two Angels (1487); najsodobnejše je The Ecstasy of Saint Mary Magdalene (1520).
Sky (3), Woman (2) in Landscape (2) od 18 del na tej strani.
Tempera On Panel, uporano v 2 od 18 del na tej strani.
High renaissance, kot lahko vidite v delih na tej strani.
Na tej strani lahko v muzeju National Gallery, London vidite 3 dela, vključno s作品ami The Agony in the Garden, Christ at Gethsemane in Christ Crowned with Thorns.
Da. Vsaka slika na tej strani je na voljo kot ročno slikano oljno reprodukcijo ali tiskano kopijo v velikosti, ki vam ustreza. Za naročilo le odprite stran slike.
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:
