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[EN] The present work presents a study of an anonymous religious piece of art. It is an oil on canvas picture located in the Communion Chapel at Saint Nicholas' parish, in the city of Valencia. The research led to the discovery of multiple graphic sources that are particularly relevant to know the picture's origin. There are clearly significant composition similarities with the XVII art piece Saint John the Evangelist at Patmos by the French artist Charles Le Brun (1619-1690), preserved in Versailles Palace. The unknown author used as a reference the French painting, confirming that what we have before us is, certainly, a copy. The analysis is focused on technical, iconographic, historical and artistic issues. Likewise, the intervention treatments of the original gold-varnished frame of the pictorial work are performed and documented. In order to achieve a deep knowledge of this painting, an analysis of its initial conservation state has been carried out. In addition, there was the recording of the intervention processes, which was undertaken by technicians of the Institute of Restoration of the Patrimony of the Universitat Politècnica de València. However, the main objective of this work is to examine the context and origin of the work. To this end, it has been essential the examination of the aspects mentioned above, along with a comparison of its iconographic and compositional elements with respect to the work of the original painter and to other possible graphic references in the same context., [ES] En el presente trabajo de final de grado se realiza el estudio de una obra de carácter religioso y autor desconocido; se trata de una pintura sobre lienzo ubicada en la Capilla de la Comunión de la parroquia de San Nicolás, en la ciudad de Valencia. Como fruto de la investigación pertinente, se ha producido el hallazgo de diversas fuentes gráficas de gran relevancia para el conocimiento de su origen. Su evidente proximidad compositiva nos confirma que se trata de una copia que toma como referencia la obra del siglo XVII San Juan Evangelista en Patmos , del artista francés Charles Le Brun (1619-1690), conservada en el Palacio de Versalles. El análisis realizado se centra en los aspectos técnicos, iconográficos e histórico-artísticos. Asimismo, se llevan a cabo y se documentan los tratamientos de intervención del marco corlado que presentaba la obra anónima. Para el verdadero conocimiento de esta pintura, se ha llevado a término un análisis de su estado de conservación inicial, así como el registro de los procesos de intervención llevados a cabo por técnicos del Instituto de Restauración del Patrimonio de la Universitat Politècnica de València. Sin embargo, este trabajo tiene como objetivo principal la realización de una aproximación hacia el contexto y origen de la obra. Para ello ha sido imprescindible, además del examen de los aspectos mencionados anteriormente, una comparativa de sus elementos iconográficos y compositivos respecto a la obra del pintor francés, así como respecto a otras posibles referencias gráficas en el mismo contexto.

Until 1997 the qualification of easel painting and monumental art (wall-painting) restoration at the Vilnius Art Academy could only be acquired during MA studies. However, since 1997 Vilnius Art Academy began to qualify restorers of easel painting and monumental art in the third year of BA studies. Then on September 15,1999 a Monument Department was established. Due to the fact that Vilnius Art Academy does not have all the necessary basis for the research of cultural heritage objects, the Monument Department is supported by Pranas Gudynas Restoration Centre (branch of the Lithuanian Art Museum). This Restoration Centre provides forthcoming restorers and restoration technologists with all the necessary facilities for practice classes and research activities. The collaboration of the Art Academy and the Restoration Centre in qualifying painting restorers is extremely important for young specialists. Theoretical knowledge, acquired through studies, is supplemented by practical skills, which students acquire by observing the work of expert restorers during workshops and while restoring paintings for their final exams. This article presents some of the most interesting works that have been restored by Vilnius Art Academy graduates at the Pranas Gudynas Restoration Centre. The author of the article analyses all the restoration techniques that were used to restore each painting. In 2007 the BA graduate Karolina Aleškevičiūtė (under the guidance of Balys Pakštas and Linas Lukoševičius) restored the painting “St. Stanislaw Bishop”, which belonged to Balninkai Church of St. Stanislaw the Bishop (Molėtų r.) and which was received from the Museum of Kaunas Archdiocese. During the same year the BA graduate S. Poderis (under the guidance of Balys Pakštas and Linas Lukoševičius) restored the painting “Madonna of the Gates of Dawn”, which arrived from the Samogitian Alka Museum; the M A graduate Birutė Urbelytė (under the guidance of Balys Pakštas and Linas Lukoševičius) restored the painting “St. Antonio Padovani with the Child” from the collections of the Lithuanian Art Museum. All the above-mentioned graduates were assessed brilliantly for their final works. A lot of scientific material was gathered about the restored works and the comparative analysis was made.