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Pinin Brambilla Barcilon Archive

Milan, Pinacoteca di Brera, Vincenzo Foppa, Martyrdom of St. Sebastian, Ripped mural
APBB_CTRS_00259_25_001.jpg
APBB_CTRS_98_25_P_001.tif
APBB_CTRS_98_25_P_002.tif
APBB_CTRS_98_25_P_004.tif
APBB_CTRS_98_25_P_005.tif
APBB_CTRS_87_21_DOC1.pdf

Milan, Pinacoteca di Brera, Vincenzo Foppa, Martyrdom of St. Sebastian, Ripped mural

Description Relationship with mappings; phototypes (positive, negative).


consistency

Quantity 1|5|4

Type positive document(s) on paper up to 21x29 cm.negative document(s) on film up to 10x15 cm.

Description restoration report. Positive b/w 18x24 cm (including 2 basic mappings) negative 1 on 10x12 cm film, negative 3 on 35 mm film

Reordering sign

APBB_CTRS_F98_25


Restoration report (01/1992-04/1992) and photographic documentation relating to the intervention on the torn fresco depicting the Martyrdom of St. Sebastian by Vincenzo Foppa, coming from the church of S. Maria in Brera.

 

 

Facilitated description 
 

The work "Martyrdom of St. Sebastian" by Vincenzo Foppa is a torn fresco (a restorer transported the pictorial layer from the original support, the wall, to a different support, in this case a canvas) of 1485-1490 preserved at the Pinacoteca di Brera in Milan.
Restorer Pinin Brambilla Barcilon restored the work in 1992.
The restorer cleaned the painting to remove recent repaintings.
Removed antique touches in green tones and column.
It has eliminated grouting (a white layer of gypsum and glue that stretches inside a gap and forms a smooth and uniform base on which to paint the additions).
He recovered the architecture on the lower edge of the painting.
Cleaning (cleaning the surface of the artwork from dirt deposited over time) revealed abrasions (scratches on the surface due to rubbing) and gaps (missing parts).
The restorer has made 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) and has filled the edges of the work.
He made the additions (reconstruction of the material or color of missing parts) to watercolor with hatch technique (thin and small lines of color that from a distance recompose the shape of the missing part).
It attenuated abrasions (scratches on the surface due to rubbing) with glazes (transparent layer of color), improving the overall contrast.