Les peintures murales de Baouît ont suscité dès leur découverte l’intérêt des historiens de l’art et en particulier des spécialistes de l’Orient chrétien. Devenues un corpus emblématique de l’art copte, à la charnière de l’Antiquité tardive et du haut Moyen Âge, elles représentent une manne iconographique d’autant plus exceptionnelle que les décors de cette période sont rares autour du bassin méditerranéen. Tout en se faisant l’écho des édifices protobyzantins en grande partie disparus, elles rendent compte d’une communauté monastique florissante au début de l’époque arabe. Elles constituent également une source précieuse, complémentaire des textes, sur la vie spirituelle des moines d’Égypte. La présente étude est le fruit d’une synthèse opérée entre la relecture de la documentation ancienne et les données apportées par les investigations récentes. La reprise des travaux archéologiques sur le site invitait à reconsidérer l’ensemble du matériel pictural mis au jour au début du XXe siècle, en vue notamment de préciser, à la lumière des programmes iconographiques et des nouvelles découvertes, la fonction et la datation desdites chapelles. Enfin, elle apporte un éclairage unique sur les peintres qui ont œuvré à Baouît et qui ont transmis, par l’intermédiaire de leur travail pictural, une image de leur communauté et une part de la spiritualité égyptienne. / Since their discovery, the wall paintings from Bawit aroused art historians’ interest, especially among scholars of the Christian East. They are an emblematic corpus of Coptic art, in the transition period between the Late Antiquity and the early Middle Ages. Their significance is even more exceptional, considering the fact that they are very few around the Mediterranean basin. While echoing the largely extinct early byzantine buildings, they reflect a flourishing monastic community at the beginning of the Arab era. They are also a valuable source of information, complementary to the texts, about the spiritual life of the Egyptian monks. This study is the result of a synthesis between the proofreading of the archives and the data provided by the recent investigations. The new start of excavations on the site invited us to reconsider all the pictorial material discovered at the beginning of the 20th century, in order to clarify the function and the date of the said “chapels”, in the light of the iconographic programs and new discoveries. Finally, it gives a unique insight of the painters who have worked at Bawit and who have transmitted, through their pictorial work, an image of their community and a part of the Egyptian spirituality.

La mise en couleur de l’intérieur d’une église parachève sa construction. Simples badigeons, décors géométriques, rehauts rythmant l’architecture ou programmes iconographiques, cette mise en couleur est appelée à des modifications au fil du temps. La recherche porte sur les petites églises rurales de l’Île-de-France, moins étudiées que celles des villes. Elles sont souvent remarquables par la multiplicité des campagnes de construction encore lisibles dans leurs murs. La mise en couleur des églises suit, en particulier, cette évolution. L’étude du bâti permet d’avoir une chronologie fine qui introduit à l’analyse de la mise en couleur et les modifications de celle-ci au cours des siècles. Une recherche de type historique aussi précise que possible cherche à mettre en évidence les probables commanditaires des œuvres. Les similitudes ou différences dans les techniques, couleurs, types de décor et choix iconographiques analysés dans quelques dizaines d’édifices permettent de saisir les variations sur la longue durée, notamment entre le Moyen Âge "classique" (XIIe et XIIIe siècles), et la fin du Moyen Âge (mi XVe - mi XVIe siècle). Par ailleurs, chaque partie de l’église a une fonction bien précise, et l’on s’attachera à montrer les rapports entre les peintures, leur emplacement dans l’édifice et leurs commanditaires. Au final, il s’agit de mettre en évidence les multiples choix opérés dans des paroisses rurales, et de saisir leurs particularités, pour autant qu’il y en ait, par rapport à celles d’autres régions françaises ou de milieux urbains proches. / The colour setting of the church interior completes its building. Distempers, geometrical decorations, highlights putting rythm into the architecture or iconographic programs, this colour setting is doomed to be altered over time. The research focuses on small rural churches of Ile-de-France, less studied than those of towns. They are often remarkable by their multiple building campaigns still to be observed in their walls. Notably, the colour setting of the churches is following this evolution. Study of the building allows getting a finer chronology which introduces to colour setting’s analysis and its evolution throughout centuries. A historical research, as accurate as it can be, tries to highlight the possible sponsors of the painting. The similarities and differences in techniques, colours, kinds of decoration, and iconographic choices among a number of churches allows to capture changes on the long run, particularly between "classic" Middle Ages (XIIth and XIIIth centuries) and the end of Middle Ages (half XVth – halph XVIth century). Moreover, each part of a church has a very specific function to fulfill and we shall attempt to show relationships between paintings, their location in the building and their sponsors. Finally, we shall try to identify the multiple choices made within the rural churches, and to understand their differences, should there be any compared to other regions of France or neighboring towns.

Cette thèse porte sur le diagnostic de peintures murales masquées par une couche de chaux ou de peintures avec des repeints.Trois méthodes originales sont présentées et le principe validé expérimentalement.D’abord une nouvelle méthode d’excitation de couches profondes par le rayonnement infrarouge lointain λ>20 μm, qui présente une meilleure efficacité par rapport à la méthode classique d’excitation par conduction thermique. Le fait de filtrer les courtes longueurs d’onde élimine l’échauffement en surface du matériau. La semi-transparence de la couche de chaux dans l’infrarouge lointain permet d’éclairer directement les couches de peintures et d’obtenir des thermogrammes révélant les motifs masqués.Nous avons aussi étudié la transmission des couches de peintures dans l’infrarouge lointain par spectrométrie à transformée de Fourier. Les peintures présentent vers 30 μm dans l’infrarouge lointain des zones d’absorption caractéristiques des groupements fonctionnels. Aussi la mesure directe de l’emission totale dans l’infrarouge lointain à température ambiante de peintures permet leur identification. Nous avons conçu un système qui pourrait être déplacé sur le terrain.Nous avons enfin introduit une nouvelle approche pour le diagnostic des peintures murales masquées par une couche de chaux basée sur la mesure du temps de vol des photons balistiques rétrodiffusés collectés par une caméra à balayage de fente d’une résolution de 2 ps. / This study deals with the diagnosis of hidden paintings by a layer of lime or another paintings.Three original methods are presented and experimentally validated the principle. First, a new excitation method of the deeper layers based on far infrared radiation λ>20 μm, which has a higher efficiency compared to the conventional method of thermal conduction excitement. The fact that the filter removes short wavelength in the heating surface of the material. The semi-transparent layer of lime in the far infrared can illuminate layers of paint directly and get thermograms revealing hidden patterns.We also studied the transmission of the layers of paint in the far infrared by Fourier transform spectroscopy. The painting present in the far infrared 30> μm areas obsorption witch caracteristic of functional groups. Also the measurement of total emission in the far infrared at room temperature allows their identification.Finally, we introduced a new approach for diagnosing murals hidden by a layer of lime based on measuring the time of flight of photons backscattered ballistic collected by a streak camera with a resolution of 2 ps.

No / Raman spectroscopy was evaluated as a non-destructive analytical tool for the characterisation of white substances in burials. In addition, Fourier transform Raman spectroscopy was used to assess the conversion of hydrated lime into calcium carbonate. Fourteen samples of white substances from archaeological and forensic sites were analysed and characterised. The results show that not all white residues in burials are lime. Lime can easily be mistaken for other building materials (gypsum), for minerals (brushite) or degraded metal (cerussite). This study highlights the need for chemical analysis of white residues when encountered in burials. Analytical information derived from Raman spectra of white substances can further assist in the interpretation of the taphonomic processes of burials and their funerary context. Copyright (c) 2014 John Wiley & Sons, Ltd.

There are approximately 1300 completely or partially preserved medieval churches in Sweden. Many of these have remains of kalkmåleri (mural paintings at least partially created in lime) from the 12th throughout the 17th century. This dissertation discusses the enactments that formed the revival of this kalkmåleri between 1850 and 1980, with a focus on restoration and conservation. The decorative and monumental paintings that were created at the same time are also discussed. The study is divided into two sections: one concentrates on the mural paintings and the networks that made their (re-)enactment possible, and the second is a case study that examines kalkmåleri in four medieval churches; Vendel and Ed north of Stockholm, and Floda and Vadsbro south of Stockholm. To come close to the paintings, an eclectic methodology with analysis of written and depicted sources, interviews, and studies in situ of the paintings through mapping and analysis of taken samples was designed. The objectives were to investigate the formation of kalkmåleri as phenomena, significant concepts, and conservation practices throughout time and space. Theoretical inspiration was taken from Actor-Network-Theory, critical discourse analysis, and speculative realism. Throughout the study the kalkmåleri is thus seen to have agency. The weave of enactments stemming from different professions and thought collectives that formed the paintings was made visible by following the actors. Some of these enactments were analyzed: i.e. the aesthetic shaping of the room, as religious and iconographic images, historical documents, art, style, technical, or hybrid objects. The latter refers to conservation that did not entirely rely on science, humanist scholarship, craftsmanship, or artistic creativity. Thus conservation is seen as a hybrid activity. Three periods of conservation principles were explored: stylistic restoration, original conservation, and precautionary conservation, which were related to what was perceived as the authentic original. Furthermore some Swedish "traditions" are discussed: that no institute for technical studies of art was formed, the use of "Curman’s principles", restricted retouching from the 1960s onward, and the use of gomma pane for cleaning. Finally appendices are included containing terminology, an index of conservators, and a DVD with mapping, chemical analysis, and photographs. / <p>Forskningsfinansiärer: FoU-medel: Riksantikvarieämbetet, Brandförsäkringsverkets stiftelse för bebyggelsehistorisk forskning, Elna Bengtsssons fond och Tyréns stiftelse.</p><p>Ett läsår på Columbia University kunde genomföras med stöd av Fulbright Commission. Erik &amp; Lily Philipsons minnesfond och Axelson Johnsons stiftelse.</p>

The dissertation analyses the reliefs and paintings on thirty-one different tombs in Western Anatolia erected between 600 and 450 BC, in order to illuminate the ways in which non-Greek elites were identified on their memorials. The tombs from three areas are treated: Phrygia, Hellespontine Phrygia and Lydia, where the primary language groups were Phrygian, Mysian and Lydian. There is little literary evidence for these regions, and what there is tends to focus on political developments. Descriptions of people and society are few, and tend to represent them from an outside perspective, grouping them according to cultural characteristics which differentiate them from Greeks. It is clear, however, that the regions were important, prosperous places, controlled by illustrious grandees and land marked with a relatively high proportion of monumental tombs. Of these monumental tombs, there is a relatively high number decorated with striking and articulate images. There is much to be gained from examining the images on these tombs, as ‘indigenous’ sources for how elite Western Anatolians described themselves. Previous approaches to the tombs and their images have tended to look at them individually or in smaller groups, and to concentrate on the transmission and reception of Persian and Greek culture in the Achaemenid provinces. This dissertation contributes a broader comparative study of the decorated tombs, focussing on the kinds of statuses the images represent and the cultural forms these took. By comparing the various methods of self-representation, it clarifies patterns of identities in Western Anatolia and their relationship to historical circumstances. The dissertation is divided into five chapters. An introduction outlines the scope and sample, the historical background, previous studies of the monuments, the definition of ‘identity’ and the methods of analysis adopted here. Three case study chapters present the regions and the decorated monuments within them. A concluding chapter synthesises three aspects: social identities (roles and spheres of life represented); geographic and chronological patterns; and cultural affiliations and orientations. The dissertation concludes that a tension between Persian identities and local traditions is evident in some of the tomb images, which relates to the political upheavals in Western Anatolia and the Aegean at the time of the Persian Wars.

Le groupe chevaleresque des Neuf Preux, apparu dans le roman des Vœux du Paon de Jacques de Longuyon vers 1312, est rapidement mis en images à travers de nombreuses techniques artistiques, et connaît un succès grandissant au cours des XIVe et XVe siècles, dans le Saint Empire romain germanique, le royaume de France, atteignant également la Catalogne et l'Italie. Simultanément, cette dernière redécouvre son glorieux passé grâce au genre biographique des Vies repris et renouvelé par Pétrarque ; la Rome antique se révèle pourvoyeuse de valeurs morales et politiques, et davantage encore d'exempla, Hommes illustres ou Uomini famosi, qui deviennent très tôt le sujet de galeries peintes sur les murs des palais publics et privés. Quatre commanditaires, en Tyrol, Piémont et Ombrie, appartenant de jure ou de facto à la noblesse, choisissent pourtant les neuf héros transalpins pour décorer différents espaces de leur demeure. Les deux traditions, prônant chacune ses modèles, cohabitent donc dans la péninsule pendant quelques décennies. La thèse a pour objectif d’analyser la fortune et l’adaptation de la série héroïque des Preux dans ces programmes picturaux, à la période charnière entre le gothique tardif et la Première Renaissance. En s'attachant aux supports littéraires et iconographiques, nous analysons les modalités qui caractérisent la diffusion et le traitement du groupe canonique des Neuf Preux, alors que la tradition classique, propre à l'Italie et à une première forme de patriotisme naissant, domine. Le topos des Preux, expression de la résistance de la culture chevaleresque présente en Italie jusqu'à la fin du XVe siècle, se révèle un thème flexible qui peut être adapté au premier humanisme. Assistons-nous alors, à travers l'interprétation du panthéon transalpin, à la création d'une nouvelle iconographie ? L'étude conduit à apporter des réponses et à proposer des lectures spécifiques aux quatre lieux d'accueil étudiés. / The chivalrous group The Nine Worthies, which appears in the novel Vœux du Paon written by Jacques de Longuyon circa 1312, was quickly transposed into pictorial form by means of many artistic techniques and became a popular theme throughout the 14th and 15th centuries in the Holy Empire, the French kingdom, and reaching even Catalonia and Italy. At the same time, Italy was rediscovering its own glorious past by way of the biographical literary genre Lives, which Petrarch had appropriated and modernized; therein moral and political values were drawn from the history of Ancient Rome and exempla of Uomini famosi, i.e. Famous Men, the latter becoming the subject of murals painted on the walls of private and public residences. However four patrons, in Tyrol, Piedmont and Umbria, belonging de jure or de facto to the nobility, chose the nine transalpine heroes to decorate different spaces in their homes. Both traditions –the chivalrous and the classic, each one praising its respective models– co-existed in Italy for some decades. This thesis analyzes the fortune and the adaptation of the Worthies' heroic series as depicted in wall paintings dating from a pivotal period of transition between the Late Gothic and the Early Renaissance. Utilizing both literary and iconographic evidence we analyze the details that characterize the diffusion and treatment of the canonical group of the Nine Worthies in Italy, where the classical tradition dominated and was employed to embody the first form of patriotism that was taking shape there. The Worthies' topos, an expression of the resistance of the chivalrous culture which was present in Italy until the end of the 15th century, was a flexible theme that could be adapted to early humanism. The pertinent question becomes, are we observing, through the transalpine pantheon, the creation of a new iconography? This study provides answers while proposing specific readings of the four host places examined and interpreting these monumental cycles.

The subject of this diploma thesis are medieval murals from the first half of the 14th century in Annin, Kasperske Hory and Strakonice. The thesis is focused primarily on detailed analysis of wall paintings, iconographic and stylistic evaluation in national context and context of neighboring countries. then the summary of the cultural and historical circumstances of origin of the paintings in a defined region together with a partial evaluation of period significance of the Prachen region. Cultural and historical circumstances are also put into context with regional patronage. Another objective of these thesis is to identify issues that require further research, especially in the field of iconographic identification of the particular scenes, and setting the paintings in the broader European context. The conclusion then revise relations of the paintings to Germany and Austria and evaluation of the importance of these areas as intermediary regions in the transfer of stylistic incentives.

[ES] La investigación realizada forma parte del estudio, mucho más amplio, para la restauración de la Iglesia de los Santos Juanes de Valencia, que tiene por objeto establecer una metodología de reconstrucción para las pinturas murales de la grandioso bóveda que Antonio Palomino pintó entre 1699 y 1701, la cual fue incendiada durante la Guerra Civil. Al realizar un primer análisis sobre diferentes anclajes en la restauración, se han encontrado dos clases de técnicas de anclaje, las denominadas tradicionales y las modernas. Tras este análisis, se ha realizado un trabajo de investigación comparativa entre diversos espacios arquitectónicos, tanto de España como de Europa, concretamente de Italia, que ya habían sido restaurados, para poder identificar los materiales utilizados en sus realizaciones. Con todo este trabajo acabado, se contactó con el Profesor Vicente Amigó Borrás, investigador del laboratorio del Instituto de Tecnología de los Materiales, para estudiar otros materiales más novedosos que pudieran ayudar en nuestra labor. Para realizar el estudio, junto a él y muchos de sus compañeros, se desarrollaron un conjunto de probetas con el fin de elaborar diferentes tipos de laminados compuestos de fibra y matriz, los cuales han soportado los diferentes procesos y análisis para obtener los mejores resultados posibles. Estos análisis han permitido conocer muy a fondo cada material y la diversidad de sus propiedades, estableciendo estudios comparativos que han ayudado a escoger cuál de ellos resultará más apropiado para el trabajo de restauración y dar algunas conclusiones finales sobre ello en el proceso de intervención global en los Santos Juanes. Se puede afirmar que esta Tesis Doctoral demuestra la posible aplicación de materiales compuestos en diferentes bienes culturales, y en especial en la bóveda de la Iglesia de los Santos Juanes de Valencia. / [CA] La investigació realitzada forma part del estudi, molt més ample, realitzat per a la restauració de l'Església dels Sants Joans de València, que té per objectiu establir una metodologia de reconstrucció per a les pintures murals de la grandiosa volta que Antonio Palomino va pintar entre 1699 i 1701, la qual va ser incendiada durant la Guerra Civil. En realitzar una primera anàlisi sobre ancoratges en la restauració, ens hem trobat davant de dues classes de tècniques d'ancoratge, les denominades tradicionals i les modernes. Després d'aquesta anàlisi, s'ha realitzat un treball de recerca comparativa entre diversos espais arquitectònics, tant d'Espanya com d'Europa, concretament d'Italia, que ja havien sigut restaurats, per a poder identificar els materials utilitzats en les seues realitzacions. Amb tot aquest treball finalitzat, es va contactar amb el Profesor Vicente Amigó Borrás, investigador del laboratori de l'Institut de Tecnologia dels Materials, per a estudiar altres materials més nous que pogueren ajudar en la nostra labor. Per realitzar l'estudi, al costat d'ell i molts dels seus companys, es van desenvolupar un conjunt de provetes amb la finalitat d'elaborar diferents tipus de laminatges compostos de fibra i matriu, els quals han suportat els diferents processos i anàlisis per a obtenir els millors resultats possibles. Aquestes anàlisis han permés conéixer molt a fons cada material i la diversitat de les seues propietats, establint estudis comparatius que han ajudat a triar quin d'ells resultarà més apropiat per al treball de restauració i donar les conclusions finals sobre el procés d'intervenció. Es pot afirmar que aquesta Tesi Doctoral demostra la possible aplicació de materials compostos en diferents béns culturals, i especialment en la volta de l'Església dels Sants Joans de València. / [EN] The object of our study was to establish the methodology for the reconstruction of the painted murals of the great vault in the Santos Juanes church of Valencia which were painted by Antonio Palomino between 1699 and 1701 and which were burned during the Civil War. In conducting an initial study of the foundations we find two different types of technique, the traditional and modern. After this analysis a comparative investigation was carried out between the various architectural sites which have been restored, both in Spain and Europe, enabling a study of the materials which have been utilized. Having completed this work we were put in contact with Professor Vicente Amigo, Laboratory investigator of the Institute of Engineering of Technological Materials, to study alternative more modern materials, which could be put to use in our work. Finishing the study alongside him and his many colleagues, a series of tests have been carried out to develop different types of fibre and matrix laminate combinations, which have undergone a variety of analytical processes to obtain the best possible results. These analyses have enabled a closer and deeper understanding of each material and their individual properties, providing a comparative study to assist the selection of the most appropriate for our needs and giving final results closest to the procedure. It can be confirmed that this Doctorate Thesis demonstrates the possible usage of compounded materials in different cultural properties, especially in the vault of the Santos Juanes church of Valencia. / Peris Gisbert, S. (2021). Técnicas de refuerzo tradicionales y modernas aplicadas a la conservación y restauración de bienes culturales [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/180014

[ES] El strappo es una técnica de arranque que permite extraer la superficie más externa de una pintura mural. Sus orígenes se remontan al siglo XVIII y a lo largo de la historia ha sido empleado de forma extensa como recurso conservativo en la intervención de nuestro patrimonio, aunque también ha sido muy cuestionado y acotado, por lo que la presente investigación muestra la vigencia de la técnica. Por otro lado, desde hace algunas décadas este sistema de arranque ha sido adoptado por diversos artistas como método de producción de obras de arte. La hipótesis de esta tesis doctoral plantea que el strappo es un sistema de arranque de pintura mural que ofrece posibilidades válidas y aplicables tanto en el ámbito de la conservación del patrimonio cultural como en el contexto del arte contemporáneo. La presente tesis reúne en una misma investigación los diversos usos que puede proporcionar esta técnica de arranque, en los dos ámbitos mencionados anteriormente. Esta idea surge de la necesidad de hallar soluciones técnicas a diversas problemáticas específicas, por un lado, sobre los procedimientos requeridos para llevar a cabo un strappo de pintura mural minimizando sus riesgos y, por otro lado, sobre los tratamientos y materiales más adecuados para intervenir una pintura mural arrancada. La investigación teórico-experimental que se desarrolla a lo largo de la tesis tiene como finalidad actualizar el protocolo de intervención a seguir para la realización del proceso que conlleva un arranque a strappo, adaptando la técnica tradicional a las necesidades de las obras investigadas, aportando con ello nuevos conocimientos sobre sistemas de consolidación de pinturas murales al seco. Las casuísticas de este tipo de pinturas son diversas, y van desde la sensibilidad al agua, hasta los problemas derivados de la falta de cohesión de la estructura pictórica. Cualquiera de los sistemas de arranque de pintura mural conlleva en sí mismo un riesgo, las operaciones de extracción son complejas y pueden acontecer múltiples circunstancias que derivan en problemáticas que deben intentar solventarse. Ante esta situación la tesis reivindica la necesidad de continuar investigando sobre este recurso conservativo, para intentar progresar y minimizar los riesgos y las dificultades de una técnica (el strappo) que sigue vigente en la actualidad y continúa realizándose cuando las circunstancias lo justifican como único recurso de salvaguarda. / [CA] El strappo és una tècnica d'arrancament que permet extraure la superfície més externa d'una pintura mural. Els seus orígens es remunten al segle XVIII i al llarg de la història ha sigut emprat de manera extensa com a recurs conservatiu en la intervenció del nostre patrimoni, encara que també ha sigut molt qüestionat i delimitat, per la qual cosa la present investigació mostra la vigència de la tècnica. D'altra banda, des de fa algunes dècades este sistema d'arrancament ha sigut adoptat per diversos artistes com a mètode de producció d'obres d'art. La hipòtesi d'esta tesi doctoral planteja que el strappo és un sistema d'arrancament de pintura mural que oferix possibilitats vàlides i aplicables tant en l'àmbit de la conservació del patrimoni cultural com en el context de l'art contemporani. La present tesi reunix en una mateixa investigació els diversos usos que pot proporcionar esta tècnica d'arrancament, en els dos àmbits esmentats anteriorment. Esta idea sorgix de la necessitat de trobar solucions tècniques a diverses problemàtiques específiques, d'una banda, sobre els procediments requerits per a dur a terme un strappo de pintura mural minimitzant els seus riscos i, d'altra banda, sobre els tractaments i materials més adequats per a intervindre una pintura mural arrancada. La investigació teòric-experimental que es desenvolupa al llarg de la tesi té com a finalitat actualitzar el protocol d'intervenció a seguir per a la realització del procés que comporta un arrancament a strappo, adaptant la tècnica tradicional a les necessitats de les obres investigades, aportant amb això nous coneixements sobre sistemes de consolidació de pintures murals al sec. Les casuístiques d'esta mena de pintures són diverses, i van des de la sensibilitat a l'aigua, fins als problemes derivats de la falta de cohesió de l'estructura pictòrica. Qualsevol dels sistemes d'arrancament de pintura mural comporta en si mateix un risc, les operacions d'extracció són complexes i poden esdevindre múltiples circumstàncies que deriven en problemàtiques que han d'intentar solucionar-se. Davant esta situació la tesi reivindica la necessitat de continuar investigant sobre este recurs conservatiu, per a intentar progressar i minimitzar els riscos i les dificultats d'una tècnica (el strappo) que continua vigent en l'actualitat i continua realitzant-se quan les circumstàncies ho justifiquen com a l'únic recurs de salvaguarda. / [EN] Strappo is a detachment technique for removing the outermost surface of a mural painting. Its origins date back to the 18th century and throughout history it has been used extensively as a conservation technique. Even though it is a popular intervention, strappo has also been highly questioned in the conservation field; therefore, this research tries to show the validity of the technique. On the other hand, for some decades the strappo system has been adopted by various artists as a method of producing works of art. The hypothesis of this doctoral thesis is that strappo is a system for detachment of wall paintings that offers valid and applicable possibilities both in the field of cultural heritage conservation and in the context of contemporary art production. This thesis brings together in the same research the different uses that this starting technique can provide, in the two areas mentioned above. This idea arises from the need to find technical solutions to various specific problems, on the one hand, on the procedures required to carry out a mural painting removal minimising its risks and, on the other hand, on the most suitable treatments and materials to intervene on a torn mural painting. The theoretical-experimental research carried out throughout the thesis aims to update the intervention procedure for carrying out a strappo start-up, adapting the traditional technique to the needs of the works investigated, thereby providing new knowledge on systems for consolidating dry mural paintings. The casuistry of this type of painting is diverse, ranging from sensitivity to water to problems derived from the lack of cohesion of the pictorial structure. Any of the detachment of wall paintings systems involves a risk in itself, the extraction operations are complex and multiple circumstances can occur that lead to problems that must be solved. In view of this situation, the thesis claims the need to continue researching this conservation resource, in order to try to progress and minimise the risks and difficulties of a technique (strappo) that is still in use today and continues to be carried out when circumstances justify it as the only safeguarding resource. / Hernández Altarejos, I. (2024). El arranque a strappo de pinturas murales. Estudio de la técnica como método de conservación y como recurso artístico [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/206466