Pinin Brambilla Barcilon Archive

Milan, Poldi Pezzoli Museum, Piero della Francesca, San Nicola da Tolentino, Painting on panel

Milan, Poldi Pezzoli Museum, Piero della Francesca, San Nicola da Tolentino, Painting on panel

Description Report, mapping, handwritten drafts; phototypes (positive, negative).

consistency

Quantity 1|11|9|191|2

Type positive document(s) on paper up to 21x29 cm, negative on film up to 10x15 cm, slide(s) up to 6x6 cm, non-standard phototype(s)

Description restoration report. 10 positive b/w 18x24 cm, 1 positive colour 18x24 cm, negative on film 10x12 cm, 1 colour slide 6x6 cm, 190 colour slides with frame 5x5 cm, 1 positive b/w 30x40 cm, 1 positive b/w 30x60 cm (graphic mapping).

Reordering sign

APBB_CTRS_F79_11; APBB_CTRS_C15_11

Restoration report and photographic documentation related to the restoration of the painting Saint Nicholas of Tolentino by Piero della Francesca.

It also contains: letter from Annalisa Zanni (31/05/1995), curator of the Poldi Pezzoli Museum, with attached text relating to the restoration carried out, drawn up for the multimedia station of the exhibition; dossier on previous restorations.

Facilitated description

The work "San Nicola da Tolentino" by Piero della Francesca is a painting on panel of 1454-1469 preserved at the Poldi Pezzoli Museum in Milan.
The painting is part of a polyptych (series of several panels painted for an altar connected by a frame) today divided into several parts, preserved in different museums.
The restorer Pinin Brambilla Barcilon restored the panel painted with "San Nicola da Tolentino" in about 1995, following an act of vandalism.
The restorer removed the old yellowed and scratched paint.
Cleaning (cleaning the surface of the work of art from dirt deposited over time) showed several degrades and gaps (missing parts).
The restorer has carried out the plastering of the gaps (a white layer of plaster and glue that extends inside a gap and forms a smooth and uniform base on which to paint the additions).
It has performed the integration of gaps (reconstruction of the material or color of missing parts) to hatch (thin and small lines of color that from a distance recompose the shape of the missing part).