Pinin Brambilla Barcilon Archive
Milan, Palazzo Clerici, Giovanni Battista Tiepolo, Carro del Sole nell'Olimpo, Wall painting
Description Relationships with handwritten notes, legends, graphic reliefs and lists of photographs; Positive, negative phototypes.
consistency
Quantity 1|196|105|187|12|1
Type positive document(s) on paper up to 21x29 cm, negative on film up to 10x15 cm, slide(s) up to 10x12 cm, non-standard phototype(s), loose sheet(s)
Description restoration report.≫79 positive b/w 18x24 cm, 98 positive colour 18x24 cm, 1 positive colour 20x30 cm, 1 positive colour 13x20 cm, 8 positive b/w 13x22 cm, 4 positive b/w 13x23 cm, 1 positive b/w 13x21 cm, 4 positive b/w 18x18 cm.
Reordering sign
APBB_CTRS_F120_1; APBB_CTRS_F121_1; APBB_CTRS_F122_1; APBB_CTRS_C26_1; APBB_CTRS_S19_1
Restoration report (05/1990-10/1990 and 03/1991-07/1991) and photographic documentation relating to the intervention on the painting Sun chariot race by Giovanni Battista Tiepolo.
It also contains: Note on the history of Palazzo Clerici published by ISPI - Institute for International Political Studies; report on multispectral surveys carried out by Mario Quattrone of Florence (with slides attached); plan of the Studio Molinari building in Milan (21/04/1987); Stratigraphic surveys carried out by Syremont - Systems for Conservation and Restoration - Montedison Group (4/07/1991) with attached photographic documentation; chemical and stratigraphic analyses carried out by the Opificio delle Pietre Dure in Florence (27/04/1990), attached in a letter from Mauro Matteini to Loredana Gallo (06/05/1991).
Facilitated description
The work "Carro del Sole nell'Olimpo" by Giovanni Battista Tiepolo, now known as "Corsa del carro del Sole" is a 1740 mural painting preserved at Palazzo Clerici in Milan.
The restorer Pinin Brambilla Barcilon restored the work in 1990-1991.
He used ultraviolet light lamps (light beam that allows you to see details not visible in natural lighting conditions; it is mainly used to understand the degradation of different materials) to distinguish previous interventions.
Some colors were sensitive to water, so the restorer used different cleaning techniques.
The restorer did not remove the fixative to avoid damage.
Finally, he fixed the pictorial film.
CCR and accessibility
