Knowledge regarding the sculptures and paintings of the autographed works of Brustolon and his work shop have increased notably over the last few years, probably also due to the project works of restoration that have taken place on the magnificent wooden altars and sculptures which are preserved throughout the Bellunese territory.
Even if some doubts still remain as to the actual organization of the Brustolon Work it is also just as evident that the works especially those as complex as the altars, must have required the co-participation and assistance of a larger work shop, in which the role figure of the artist was sustained by the roles of engravers, joiners, carpenters and decorators.
The construction process of the work of art underwent different phases, from the graphical project to the analytical study of the works, both on the plant and its structural syntax. The graphical documentation was a fundamental starting point of any works or sculptures and it was also used as a way of keeping the future commissioning owner informed of the work in process.
Apart from the graphical phase, it also appears evident that Brustolon undeniably sculpted on all his autographed works. The same can be ascertained regarding the painting treatment applied to his works, in fact this treatment was usually carried out at his work shop. As a matter of fact, in the contract signed for the commissioning of the Altar of San Valentine's Church, it states that the altar would have been put into position at the church by “an assistant from the work shop and not by the artist himself” which makes one presume that the artist was always present and vigilant at the work shop and superintended all the works at his work shop.
A peculiarity of Brustolon's works is precisely the painting treatment which masks and stimulates diverse supports: from the touch of Baroque chalk and plaster decorations in double adhesive style, the darkened golden paint, through to the golden layers or the simulation of stone and marble.
The artist's use of refined pigmented sheens, layered over prestigious substances like boxwood, pear or birch, with a well defined taste for painting — made an intriguing perception for anyone who looked upon his work of art. Therefore this characterized right from the start any of the works of Brustolon, which became unequalled masterpieces of refined chromatic works.
In regards to the autographed poly chrome wood works, the painting style of Brustolon was also aligned with the treatment of the poly chrome sculptures and thus an integral part of the artist's project. From the point of view of the executive procedure, the block of sculpted and engraved wood was then refined by chisels, wood files, chafes and abrasive tools. Analysis done of the works of art have proved how the preparing steps were carried out in numerous stages and not all at once, so as to support the fineness of the engraving.
The process of layering with golden colouring was also performed at his work shop. The use of diverse techniques of applying golden colouring, created a luminous vision of different layers and shades, some more opaque and dark brown, some layers as shimmering shades of paint, thus creating a unique effect — as described by Milena Dean, who states that this form of layering and colouring has always been present in autographed works of art.
Even the forms and construction systems used in Brustolon's more complex and particularly difficult pieces has proven to be an absolute novelty in the Bellunese and Venetian panorama.
The choice of the supporting pedestal varied incredibly among the masterpieces, depending on which object was foreseen to have a layered paint finishing or which object was foreseen to have only a varnish finishing. The carving on the former pieces has a sharper definition, with acute angles and the surface was always meticulously finished, bearing in mind the “softness” of the layers of paint. However, the perfection of the supporting block was not always of importance, therefore it is not unusual to find resin gnarls on the surface. The central block was usually built with two or more wood axels of a certain thickness, which in some cases came from the same tree truck. These were then positioned one on top of the other but with opposite layer sides to each another and then nailed together. A large quantity of wooden chips were added and wooden bolt fixtures were also applied.
