On the 3rd of October we had our very first meeting with the client that we’re working for with the Heritage project. We have been provided with some very useful information that have helped with the research part of the project.
To begin with we have been told about how the piece of Pietro Lorenzetti has been made. It was made on canvas which has been primed with gesso (Gesso is very similar to white acrylic paint, only thinner. It dries hard, making the surface more stiff. Gesso prepares (or “primes”) the surface for painting, making the surface slightly textured and ready to accept acrylic paint. Without gesso, the paint would soak into the weave of the canvas. LINK). The canvas actually sits on top of poplar wood. The painter first added a layer of gold, then punched the halo shapes, he then followed by painting the silhouettes, adding the flesh and then the detailed faces.
We also have been told that this piece more than likely was a panel that was a part of a different piece by the same artist; Virgin and Child Enthroned and Donor, Angels” which is currently in the Philadelphia Museum of Art. It is believed that the panel found in The Ferens would have sat above the Philadelphia panel.
Because we now have an idea of the panel we were focusing on, to be a part of an even bigger panel. We can now estimate the size of the workshop that we need in order to accommodate both of the pieces together as if they were one. Also we now know that the workshop was not where Pietro lived. This means that the workshop doesn’t need to contain any rooms with beds etc.
Another interesting fact that we have found out through the research that we’ve been provided with, was that “During Lorenzetti’s time, much of the area enclosed by the city walls (and gates) was unoccupied, and the heart of the city, including the Duomo, the Campo, and the areas where most painted lived, could be encompassed by a square of 1.2 km to each side. Distances compact – citizens lived in immediate daily contact with one another.” This piece of information tells us more about the surrounding area of where the artist has lived and perhaps where most of the artists had their workshops. This piece of information is useful especially when we’ll add a balcony or a window of some sort that a player could be able to look out from in order to see more buildings etc.
The cost of making the piece might have affected the tools and objects within the workshop.
Wood working cannot happen during the painting process, unless it is in a different room.
Sketched in charcoal (Perhaps we could place some pieces of material scattered on a table around the workshop with sketches that were made before the final piece was made.)
Lorenzetti might have been a bladesmith. (Perhaps there was a forge and an anvil found somewhere within the workshop.)