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Le Solutréen est un techno-complexe du Paléolithique supérieur défini par l’apparition de nouveaux outils et de techniques et qui se développent en parallèle d’un refroidissement globalisé de l’Europe de l’Ouest : le Dernier Maximum Glaciaire. Les productions matérielles témoignent d’un changement techno-culturel important avec les cultures locales antérieures, du moins dans le domaine cynégétique. Ce bouleversement technique au sein de certains artisanats est-il également l’indice de changements au sein d’autres systèmes techniques laissant pas de traces archéologiques directes, comme le travail de la peau ? En l’absence de témoins directs de cette activité, reconstituer la chaîne opératoire du travail de la peau est possible en menant des analyses fonctionnelles des traces d’usure sur les industries lithiques et osseuses solutréennes. Le travail de la peau est une des activités domestiques majeures des populations de chasseurs-cueilleurs, préhistoriques comme subactuels. Comprendre les étapes et le séquençage de la chaîne opératoire permettra de caractériser non seulement le cadre technique de cette activité, mais aussi ses enjeux sociaux et économiques. The Solutrean is an Upper Paleolithic techno-complex defined by the apparition of tools and technics and developed during a globalized cooling of Western Europe: the Late Glacial Maximum. Material productions show a techno-cultural change, at least for hunting tools, with past local cultures. Do this technic change of some crafts is the hint of other changes of technic systems which did not leave direct archaeological traces, such as hide working? Without direct traces of this activity, reconstructing the hide working chaîne opératoire is possible by conducting functional analysis of use-wear traces on Solutrean lithic and osseous industry. Understanding the steps and the sequencing of the chaîne opératoire will characterize the technic frame of this activity but also its social and economic goals.

Obviously “Ancient” rock art has been less studied than Magdalenian art; the reason for such a lack of interest may be its less spectacular character and its apparent relative rarity. Studies carried out by Jean Combier in the Ardeche valley since the late fifties, by Michel Corblanchet in the Lot as early as the seventies as well as those by Brigitte and Gilles Delluc in Aquitaine contributed to correct this imbalance. The study of “archaïc” rock art in Aquitaine by the Delluc constitute the only real synthesis about “ancient” parietal art. Nevertheless, this study is limited to Aquitaine. Broadening this geographic domain to the whole France and taking into account recent findings (Cosquer, Chauvet, Cussac) gives a new drive to research. We define as “ancient” the ornate aurignacian, gravettian and solutrean (pre-magdalenian) ensembles. In our study we concern ourselves with putting into perspective recently found elements and elements to be reconsidered within the chronology. Can we differentiate aurignacian, gravettian and solutrean cultures through a thematic and technostylistic approach? Does this double approach allows to isolate “momentary traditions” and “symbolic territories” within aurignacian, gravettian and solutrean complexes?