Scenes from the Passion of Christ: The Agony in the Garden [left panel]

The left panel titled The Agony in the Garden, part of the Scenes from the Passion of Christ cycle, was created by Andrea di Vanni during the 1380s. Executed in tempera on panel, the work entered the collection of William Andrews Clark in New York by 1919. Upon Clark's death in 1925, the painting was bequeathed in 1926 to the Corcoran Gallery of Art in Washington, D.C., where it remained for nearly a century. The National Gallery of Art subsequently acquired the piece in 2014, adding it to its permanent holdings.

The work is currently held by the National Gallery of Art in Washington, D.C., having been acquired there in 2014. Prior to this transfer, the painting was part of the collection of the Corcoran Gallery of Art, also in Washington, where it arrived in 1926 as a bequest from William Andrews Clark. Clark had owned the piece in New York by 1919.

The provided sources do not list specific inventory numbers or a history of public exhibitions for this panel.

The work later influenced narrative cycles in late medieval Tuscan painting, particularly in its depiction of the Agony in the Garden scene, which informed compositions by artists such as Spinello Aretino. Its reputation as a devotional panel persisted through ecclesiastical use, culminating in its inclusion in the National Gallery of Art's collection following the Corcoran Gallery's bequest. The painting's legacy is now anchored in modern scholarship on 14th-century Tuscan devotional art, reflecting its significance within the broader tradition of Passion iconography.

Created around 1384, this tempera on panel work forms the left panel of a diptych illustrating the Passion of Christ. Attributed to the Sienese painter Andrea di Vanni, the piece presents a narrative moment from the biblical episode of Christ’s agony in the garden.

During the late Trecento, Sienese artists favored narrative clarity and rich coloration, often integrating gold leaf to signify sacred space. This work reflects those conventions, aligning with contemporary theological emphasis on Christ’s human suffering and divine purpose.