Paleolithic Rock Art: A Worldwide Literature Survey Extracted from the Rock Art Studies Bibliographic Database for the Years 1864–2017 ^†

Abstract

The Rock Art Studies Bibliographic Database is an open access; online resource that fulfills the need for a searchable portal into the world’s rock art literature. Geared to the broadest interests of rock art researchers; students; cultural resource managers; and the general public; the RAS database makes rock art literature accessible through a simple search interface that facilitates inquiries into multiple data fields; including authors’ names; title and publication; place-name keyword; subject keyword; ISBN/ISSN number and abstract. The results of a data search can further be sorted by any of the data fields; including: authors’ names; date; title; and so forth. An ever increasing number of citations within the database include web links to online versions of the reference cited; and many citations include full author’s abstracts. The data compilation has been undertaken by Leigh Marymor with the year 2018 marking the 25th year of continuous revision and expansion of the data. Over 37,000 citations are currently contained in the database. The RAS database first launched online as a joint project of the Bay Area Rock Art Research Association and University of California’s Bancroft Library. After thirteen years of collaboration; the project found a new home and collaborator at the Anthropology Department at the Museum of Northern Arizona. The Paleolithic Rock Art bibliography results from an export of data from the RAS database and captures a freeze-frame in the state of the rock art literature for the world’s Paleolithic rock art as compiled here in the year 2018. The online version of the RAS Bibliographic Database at the Museum of Northern Arizona is updated annually; and we refer the reader to that resource for up-to-date bibliographic data revisions and additions. Researchers who consult the online database in concert with their reference to the Paleolithic Rock Art bibliography will discover a powerful ally in further refining geographic and thematic inquiries.

Preface

Paleolithic Rock Art: A Worldwide Literature Survey is a landmark publication in the specific field it addresses, in the sense that this is the historically first endeavor to create a comprehensive catalogue of the subject. For well over a century, in fact since 1902, archaeology has accepted the existence of Pleistocene rock art, after first strenuously rejecting it for decades and first driving its discoverer into a premature death. Marcelino Santiago Tomás Sanz de Sautuola (1831–1888) died in the belief that he had made one of archaeology’s most important discoveries in his cave of Altamira, but he remained unable to convince the discipline that he was not a charlatan.

In 1902 Professor Émile Cartailhac published his mea culpa, and the discipline over-reacted by adopting the opposite reaction to Paleolithic ‘art’, now turning it into the center of a cult-like belief system. The former fake art became evidence for ritual, religion, shamanism, symbolism, and the first emergence of ‘high culture’. Ten years after Cartailhac’s admission, archaeology discovered that humans first evolved in England, following the find of some bones in a certain gravel pit at Piltdown. It took four decades to accept that it had fallen victim to a hoax. But the similar Eurocentric fallacy that art-like production began in Franco-Cantabria with the Upper Paleolithic still persists to this day in the public’s mind. In fact there are now dozens of French and Spanish rock art sites on the World Heritage List for being of the Pleistocene (some of which are actually of the Holocene) and yet there is not a single Pleistocene rock art site from the rest of the world on that list, even though Ice Age rock art is far more common in the remaining continents. This continues to help preserve the European fantasy of cultural primacy.

Realistically the term ‘Paleolithic art’ can only be applied in regions where a Paleolithic period is recognized, which is essentially Eurasia. In Africa, the Pleistocene features ‘Paleolithic’ traditions in the far north of the continent, but in the continent’s south the Ice Age ‘cultures’ are called Early, Middle and Later Stone Age. The Americas lack a ‘Paleolithic’, and the Australian situation is particularly interesting. All Pleistocene and even the early Holocene tool industries there are of Mode 3, which corresponds to the Middle Paleolithic in Eurasia and northern Africa. There is very little Mode 3 rock art in Europe, but a great deal of it in Australia, and even older rock art has been proposed for southern Africa and India. Bearing in mind that there is far more rock art in Australia than there is in Europe, and that a good part of it is of Mode 3 (or ‘Middle Paleolithic’) provenance, it follows that there is very probably more surviving ‘Middle Paleolithic’ rock art in the world than ‘Upper Paleolithic’. That is certainly not the understanding of most Paleolithic art specialists and would presumably come as a shock to them.

The compiler of this massive bibliographical database of over 3800 entries, Leigh Marymor, has wisely included the rather diminutive literature on extra-Eurasian Pleistocene paleoart in his register, even though it is not ‘Paleolithic’. Still, the enormous imbalance in favor of European, especially southwestern European, material has remained palpably evident. The rock art motifs that can be credibly attributed to the Paleolithic period number only in the order of 5000 or so. They are abundantly illuminated by the thousands of books and articles published about this corpus as it is listed in this immensely valuable database.

Extracted from his much larger list, the Rock Art Studies Bibliographic Database of more than 37,000 entries, Marymor’s inventory of publications about Pleistocene paleoart is a godsend for all researchers (and editors and referees!) concerned not only with this subject, but also with topics ranging from human cognitive evolution to cultural development, art history, the hominin ability of forming constructs of reality and, perhaps most importantly, the advance of exograms. No longer need we tolerate discussions of these complex subjects that are inadequately informed and referenced; no longer will authors wonder what relevant publications they failed to consult. Here is a fairly comprehensive list of what has been published for the past one and a half centuries, and anyone wanting to contribute to this massive literature on Pleistocene paleoart will be well advised, henceforth, to thoroughly consult Marymor’s resource. Thus the greatest contribution this database makes to the discipline is its creation of a minimum baseline, defining what is an adequate knowledge level to contribute credibly to this field. Hopefully this will put an end to the presentation of whimsical theories about the meaning, significance, intent, ages and purpose of the phenomena collectively constituting the Pleistocene paleoart of the world.

Robert G. Bednarik

Convener and Editor-in-Chief, IFRAO

Abelanet, Jean, 1985. “Le Premier Site d’Art Rupestre Paleolithique a l’Air Libre: Le Richer Grave de Campome” in Conflent 23(133): 2–7.

Campome, Pyrenees Orientales, southern France. Europe; Paleolithic rock art in the open air.

Biblio.

Abelanet, Jean, 1986. Signes sans Paroles, Cent Siecles d’Art Rupestre en Europe Occidentale. Paris: Hachette, 345p. Hachette, Paris, France. ISBN-10: 2010086953, ISBN-13: 978-2010086953.

Europe; Paleolithic art.

Biblio, Amazon.

Abelanet, Jean, Sacchi, Dominique and Vilette, Philippe, 1984. “Cova Bastera” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises. Edited by A. Leroi-Gourhan, pp. 347–49. Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179, ISBN-13: 978-2110808172.

Cova Basera, Languedoc-Roussillon, Pyrenees-Orientales, Cornellia-de-Confluent, France. Europe. Paleolithic cave art. Red dot motif(s).

LMRAA.

Abgrall, Aurelie, 2010. “L’Utilisation de la Couleur dans l’Art Pariétal du Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne)” in Prehistoire entre Vienne et Charente. Hommes et Societe du Paleolithic. J, Buisson-Catil et J. Primault, dirs. Ministere de la Culture Memoire, (XXXVIII): 441–52, Ministere de la Cultura, Paris, France. ISBN: 978-2-909165-92-9.

Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne), France. Europe. Paleolithic art. Use of color. Pigment.

Internet, Biblio.

Abgrall, Aurelie, 2010–2011. “L’Art Pictural au Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne), “Langage” Révélateur d’un Groupe Culturel?” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège. Tarascon: Société Préhistorique de l’Ariège, vols. 65–66, pp. 70–71. ISSN: 1954-5045.

Roc-aux-Sorciers, Angles-sur-l’Anglin, Vienne, France. Europe. Paleolithic art. Language, cultural identity.

Dialnet.

Abgrall, Aurelie, 2012. “L’Art Pictural au Roc-aux-Sorciers (Angles-sur-l'Anglin, Vienne), Langage Revelateur d’un Groupe Culturel?” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010. Edited by Jean Clottes. Vienn: Bulletin de la Societe Prehistorique Ariege-Pyrenees. Tarascon-sur-Ariege, Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI: Book: 70–71, CD: 389–95. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Roc-aux-Sorciers (Angles-sur-l'Anglin), Vienne, France. Europe. Paleolithic art. Cultural group identification. Language.

Biblio, LMRAA.

Abgrall, Aurelie, Bourdier, Camille, Fuentes, Oscar and Genevieve Pincon, 2010. “Le Relevé Graphique Analytique: Un Nouvel Outil pour l’Etude des Oeuvres d’Art Paléolithiques” in Prehistoire entre Vienne et Charente. J. Buisson-Catil et J. Primault, dirs. Hommes et Societe du Paleolithic,. Ministere de la Culture Memoire. Paris: Ministere de la Cultura, vol. XXXVIII, pp. 476–84. ISBN: 978-2-909165-92-9.

France. Europe. Paleolithic art. Research methodology.

Internet, Academia.edu.

Abgrall, Aurelie, Paillet, Patrick and Robert, Eric, 2017. “La Couleur dans l’Art Pariétal du Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne) et de la Grotte Blanchard (Saint-Marcel, Indre)” in Proceedings of the L’Essor du Magdalenien. Aspects Culturels, Symboliques et Techniques des Facies a Navettes et a Lussac—Angles, Actes de la Seance de la Societe Prehistorique Francaise, Besancon, France, 17–19 Otobbre 2013. Camille Bourdier, Lucie Chehmana, Romain Malgarini et Marta Poltowicz-Bobak, dirs. Paris: Societe de la Societe Prehistorique Francaise, vol. 8:87–102. ISSN: 2263-3847, ISBN: 2-913745-67-9.

https://www.academia.edu/32638353/La_couleur_dans_lart_pari%C3%A9tal_magdal%C3%A9ni en_du_Roc-aux-Sorciers_Angles-sur-lAnglin_Vienne_et_de_la_grotte_Blanchard_Saint-Marcel_Indre_ (accessed on 26 April 2017).

Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne) et de la Grotte Blanchard (Saint-Marcel, Indre), France. Europe. Use of color—a comparative study. Pigment. Magdalenian. Paleolithic art.

Abstract: “The colour, omnipresent in Roc-aux-Sorciers rock-shelter and Blanchard cave, reference sites of the Middle Magdalenian Lussac-Angles and Navettes facies, is the subject of recent studies. Crossing the results shows differences in the uses of colour in these two occupied and decorated places both in production of red, black and yellow shades and in their integration in the rock art. If pictorial art of Blanchard cave appears for the most part independent of engraved art, on the other hand it is closely linked to sculptures and engravings in Roc-aux-Sorciers where its integration depends on strict rules which seem the same in other decorated sites of the Middle Magdalenian Lussac-Angles facies. Although these first results have to be developed further and this study to expand to other sites, crossing our data shows that colour may be an additionnal element for the characterisation and differenciation of the Middle Magdalenian Lussac-Angles and Navettes facies.”

Academia.edu.

Abramova, Z.A., 1990. “L’Art Mobilier Paleolithique en Siberie” in Bollettino del Centro Camuno di Studi Preistorici 25: 80–98. Centro Camuno di Studi Preistorici, Capo di Ponte, Italy. ISSN: 0577-2168.

Russia, Siberia. North Asia. Portable art (mobiliary art). Paleolithic art.

Biblio.

Abramova, Zoya-A, 1990. “Bases Objectives de la Chronologie de l’Art Mobilier Paleolithique en Siberie” in L’Art des Objets au Paleolithique 1987: 143–53. 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21, Jean Clottes, dir., Ministere de la Culture, Foix, France. ISBN: 2-11-085550-9.

Tolbaga, Malta, Bouret, Oust-Kova, Krasnyl Jahr, Maininskaya, Yakoutie, Russia, Siberia. Northern Asia. Paleolithic art. Mobiliary (portable) art. Chronology. Figurines.

LMRAA.

Abrams, David, 1986. “Lascaux II: The Replica” in La Pintura vol. XII(3): 14, 20. American Rock Art Research Association, El Toro, California.

Lascaux II, Montignac, Dordogne, Perigord, southern France. Europe. PALEOLITHIC CAVE ART. DESCRIBES THE HISTORY AND RESULTS OF THE CAVE’S REPLICATION.

LMRAA.

Abreu, Mila Simoes de and Bednarik, Robert G., 2000 (May). Fariseu Rock Art Not Archaeologically Dated in Rock Art Research 17: 65–68, Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

FARISEU, COA VALLEY, PORTUGAL. EUROPE. PALEOLITHIC ART. DIRECT DATING BY ASSOCIATION WITH SOILS STRATA. EQUINE (HORSE) and BOVINE (COW, CATTLE) MOTIF(S). (See: ANONYMOUS, RAR, 17(1): 65).

LMRAA, MWRBRAD.

Airvaux, J., 2001. L’Art Prehistorique du Poitou—Charentes. Sculptures et Gravures des Temps Glaciaires. Paris: La Maison des Roches, 224p. France. ISBN-10: 2912691133 ISBN-13: 978-2912691132.

Roc-aus-Sorciers, Roc-de-Sers, Le Placard (and others), Poitou—Charentes, France. Europe. Upper Paleolithic rock art.

Biblio, LoC, Internet.

Airvaux, Jean, 2011. “Les Incisives de Chevaux Gravees du Magdalenien Moyen de Lussac-Angles” in Bulletin Préhistoire du Sud-Ouest 19: 137–96. Association Prehistoire du Sud-Ouest, Carcassonne, France. ISSN: 1268-7944.

Lussac-Angles, France. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art. Engraved horse incisor teeth.

Internet.

Airvaux, J. et al., 1983. “La Plaquette Gravee du Perigordien Superieur de l’Abri Laraux, Commune de Lussac-les-Chateaux (Vienne). Nouvelle Lectures et Comparisons” in Bulletin de la Société Préhistorique Française 80: 235–46. Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

Abri Laraux, Commune de Lussac-les-Chateaux, Vienne, France. Europe. Paleolithic art. Mobiliary (portable) art.

IIA.

Airvaux, J. et al., 2006. “Decouverte d’un Reseau Karstique Orne au Lieu -Dit Les Garennes, Commune de Vilhonneur, Charente” in Bulletin Préhistoire du Sud-Ouest 13: 23–35. Association Prehistoire du Sud-Ouest, Carcassonne, France. ISSN: 1268-7944.

Garennes, Commune de Vilhonneur, Charente, France. Europe. Paleolithic art. Dots, black hand stencil, schematic face motif(s). Gravettian.

RASNW4.

Airvaux, Jean and Chollet, André, 1985. “Figuration Humaine sur Plaquette à la Grotte des Fadets à Lussac-les-Châteaux (Vienne)” in Numéro Spécial d’Études et Travaux Bulletin de la Société Préhistorique Française 82: 83–85. Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1985_num_82_3_8666 (accessed on 9 October 2011).

Grotte des Fadets à Lussac-les-Châteaux, Vienne, France. Europe. Paleolithic art. Mobiliary (portable) art. Human motif(s).

Persee.

Airvaux, Jean and Foucher, Pascal, 1981. “Une Approche dans l’Interprétation d’un Bâton Orné du Magdalénien Final de Loubressac, Commune de Mazerolles (Vienne)” in Bulletin de la Société Préhistorique Française 78: 219–24. Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1982_num_79_4_5370 (accessed on 10 October 2011).

Loubressac, Commune de Mazerolles, Vienne, France. Europe. Paleolithic cave art. Mobiliary (portable) art. Magdalenian.

Persee.

Airvaux, Jean and Foucher, Pascal, 1984. “Gravure d’une Tête Humaine de Face dans le Magdalénien III de la Marche, Commune de Lussac-les-Châteaux (Vienne)” in Bulletin de la Société Préhistorique Française 81: 212–15. Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1984_num_81_7_8635 (accessed on 9 October 2011).

La Marche, Commune de Lussac-les-Châteaux, Vienne, France. Europe. Paleolithic art. Magdalenian. Human head, face motif(s).

Abstract: “A new engraving of front-view human head of Magdalenian III of La Marche, commune de Lussac-les-Châteaux (Vienne). Altogether, heads whitch are represented front-view are uncommon at upper paleolithic and even at Magdalenian. Generály schematic or badly done, they reach exceptionally the realism of those which is presented by us.”

Persee.

Airvaux, Jean and Foucher, Pascal, 1991. “Les Techniques Informatiques du Traitement de l’Image Appliquées à l’Etude des Gravures Paléolithiques” in Paléo, Revue d’Archéologie Préhistorique 3: 139–47. Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1991_num_3_1_1044 (accessed on 17 November 2011).

France. Europe. Paleolithic art. Documentation. Image enhancement.

Abstract: “The application of the technologies of image treatment to plot the paleolithic engravings. After reminding the usual methods and their limits, the authors explain their experimentation with the first results. This first application seems to be a coming solution for the study of paleolithic art.”

Persee, Biblio.

Alabouvette, Claude, 2006. “Fusarium Solani: Notre Cher Ennemi” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques. Paris: Ministère de la Culture. Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

Lascaux, Dordogne, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Fungal growth.

Internet.

Alarcao, Jorge, 1965. “Palaeolithic Cave Painting in Portugal” in Archaeology 18: 228–29. New York, New York.

Portugal. Europe. Paleolithic art.

BPRA, EPA.

Alaux, Jean-Francois, 1972. “Gravure Féminine sur Plaquette Calcaire, du Magdalénien Supérieur de la Grotte du Courbet (Commune de Penne, Tarn)” in Bulletin de la Société Préhistorique Française 69: 109–12. Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1972_num_69_4_4360 (accessed on 13 October 2011).

Grotte du Courbet, Commune de Penne, Tarn, France. Europe. Paleolithic art. Mobiliary (portable) art. Female motif(s). Engraving on calcareous plate.

Persee.

Alcalde del Rio, H., Breuil, H. and Sierra, L., 1911/1912. Les Cavernes de la Region Cantabrique. Peintures et Gravures Murales des Cavernes Paléolithiques, Publiées sous les Auspices de S.A.S. le Prince Albert 1er de Monaco. 2: 265p. Imprimerie Vve A. Chene, Monaco.

Cantabria, Spain. Europe. Paleolithic cave painting. Some of the plates are accompanied by leaf with outline drawing of objects represented. Plates bound seperately.

Biblio, LoC, LMRAA.

Alcolea Gonzalez, J.J. and Balbin Behrmann, R., 2003. “Temoins du Froid. La Faune dans l’Art Rupestre Paleolithique de l’Interieur Peninsulaire” in L’Anthropologie 107: 471–500. Masson, ISSN: 0003-5521.

http://www.sciencedirect.com/science?_ob=PublicationURL&_tockey=%23TOC%237226%232003%23998929995%23463438%23FLA%23&_cdi=7226&_pubType=J&_auth=y&_acct=C000228598&_version=1&_urlVersion=0&_userid=10&md5=febb7159ed87c9225f5482b0a5086789 (accessed on 19 August 2011).

Iberian Peninsula, Spain. Europe. Paleolithic art. Animals.

Abstract: “It is our intention to analyse the environmental significance of the Palaeolithic artistic representations existing in the inner areas of the Iberian Peninsula. The fauna is used to create chronological and climatical criteria to affirm the condition of the castillan plateau during the last glaciation. In our opinion, it is dangerous to use the isolated animals in order to talk about coldness or heat situation because they reflect the cultural selection of their authors more than the ambiental reality. Neither the animals called thermometer nor the euritherm ones are solely represented in the tempered moments. Moreover, we have almost a no animal representation than artistic during the last finiglacial period in the peninsular interior. It means probably that the artistic representations are mainly cultural signs, which change for cultural reasons and not properly climatic ones within a general reality of glacial environment.”

RASNW3, Internet, Refdoc.fr, Biblio.

Alcolea Gonzalez, J.J. and Balbin, Behrmann, R., 2003. “El Arte Rupestre del Interior Peninsular: Nuevos Elementos para el Estudio de su Variabilidad Regional” in El Arte Prehisorico desde los Inicios del Siglo XXI, J.J. Acosta Gonzalez and R. Balbin Behrmann, eds. Primer Simposium Internacional de Arte Prehistorico de Ribadesella, 223–53, Asociacion Cultural Amigos de Ribadesella.

https://www.academia.edu/4683798/R_DE_BALBIN_J_ALCOLEA_2003_ARTE_RUPESTRE_INTERIOR (accessed on 2 May 2014).

Interior peninsula, Spain. Europe. Paleolithic art.

RASNW3, Academia.edu.

Alcolea González, José Javier and de Balbín Behrmann, Rodrigo, 2003. “El Arte Rupestre Paleolítico del Interior Peninsular: Elementos para el Estudio de su Variabilidad Regional” in El Art Prehistorico desde los Inicios del Siglo XXI: Primer Symposium Internacional de Arte Prehistorico de Ribadesella, 2002, R.D. Balbin and P. Buena Ramirez, eds., 223–54, Asociacion Cultural Amigos de Ribadesella, Ribadesella, Portugal. ISBN: 84-921909-8-1.

Interior Peninsular Spain. Europe. Paleolithic art. Regional variability.

Dialnet, Biblio.

Alcolea Gonzalez, Jose Javier and de Balbin Behrmann, Rodrigo, 2006. “Siega Verde y el Arte Paleolitico al Aire Libre del Interior Peninsular” in El Paleolítico Superior en la Meseta Norte Española, Germán Delibes de Castro and ed. and Fernando Díez Martín, eds. Studia Archaeologica, Vol. 94: 41–74, Universidad de Valladolid, Valladolid, Spain. ISBN: 84-8448-384-3, 978-84-8448-384-7.

https://www.academia.edu/4683550/J_ALCOLEA_R_DE_BALBIN_SIEGA_VERDE_STUDIA (accessed on 2 May 2014).

Foz Coa, Portugal and Siega Verde, Northern Meseta, Spain. Europe. Paleolithic art. Chronology.

Academia.edu

Alcolea González, José Javier and Balbín Behrmann, Rodrigo de, 2012. “El Arte Rupestre Paleolítico del Interior Peninsular” in Arte Sin Artistas. Una Mirada al Paleolítico [Catálogo Exposición], Museo Arqueológico de la Comunidad de Madrid, editado por I. Escobar y B. Rodríguez, 187–207, Museo Arqueológico de la Comunidad de Madrid, Alcalá de Henares, Madrid, Spain. ISBN: 8445134493, 9788445134498.

https://www.academia.edu/11339877/EL_ARTE_RUPESTRE_EN_EL_REINO_UNIDO (accessed on 29 April 2017).

Interior peninsular Spain. Europe. Paleolithic art.

Academia.edu.

Alcolea González, José Javier, Balbín Behrmann, Rodrigo de, García Valero, Miguel Angel and Jiménez Sanz, Pedro José, 1997. “Nuevos Descubrimientos de Arte Rupestre Paleolítico en el Centro de la Península Ibérica: La Cueva del Reno (Valdesotos, Guadalajara)” in II Congreso de Arqueología Peninsular: Zamora, del 24 al 27 de Septiembre de 1996, R. de Balbin & P. Bueno, eds., Vol. 1: 239–257, Fundacion Rei Afonso Henriques, ISBN: 84-922389-9-2.

Cueva del Reno, Valdesotos, Guadalajara, Iberian Peninsula, Spain. Europe. Paleolithic art.

Dialnet, Biblio.

Alcolea, Gonzalez J.J., De Balbin Behrmann, R., Garcia Valero, M.A. and Jimenez Sanz, P.J., 1997. “Nouvelles Decouvertes d’Art Rupestre Paleolithique dans le Centre de la Peninsule Iberique: La Grotte du Renne (Valdesotos, Guadalajara)” in L’Anthropologie Vol. 101(1): 144–63, Masson, Paris, France. ISSN: 0003-5521.

Grotte du Renne, Valdesotos, Guadalajara, Iberian Peninsula, Spain. Europe. Paleolithic art.

Abstract: “Dans le cadre des recherches entreprises par le Département de Préhistoire de l’Université de Alcala de Henares, des prospections systématiques entreprises au Nord de la province de Guadalajara ont permis la découverte exceptionnelle dans le domaine du Paléolithique supérieur de la Cueva del Reno. Riche caverne peinte et gravée, elle a livré, notamment, une représentation de Renne. Les figures appartiennent à des périodes assez anciennes de l’art paléolithique, mais à l’entrée de la grotte, des gravures fines, difficiles à lire, seraient plus récentes. Le travail, en cours actuellement, doit se poursuivre dans les années à venir.”

RASNW2, Refdoc.fr, Biblio.

Allain, J., 1984. “Grotte Blanchard” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, Edited by A. Leroi-Gourhan, pp. 299–301, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Blanchard, Saint-Marcel, Centre, Indre, France. Europe. Paleolithic cave art. Intentional striations. Fluting.

LMRAA.

Allain, J. and Rigaud, A., 1986. “Decor et Fonction. Quelques Exemples Tires du Magdalenien” in L’Anthropologie 90: 713–38, Masson, Paris, France. ISSN: 0003-5521.

France. Europe. Paleolithic art.

IIA.

Allain, Jacques and Rigaud, Andre, 1990. “Les Outils de Lascaux” in Lascaux Premier Chef d’Oeuvre de l’Humanite Les Dossiers d’Archeologie (152): 76–77, Editions Faton, Dijon, France. ISSN: 1141-7137.

Lascaux, Montignac, Dordogne, Perigord, France. Europe. Paleolithic art. Tool. Experimental reproduction.

LMRAA.

Almagro Basch, M., 1981. “La Tecnica del Grabado de Trazos Multiples en el Arte Cuaternario Espanol” in Union Internacional De Ciencias Prehistoricas Y Protohistoricas (UISPP): Arte Paleolitico. Coloquio. Comision X, Xth Congress, 128 pgs, Mexico City, Mexico.

Spain. Europe. Paleolithic art. Engraving technique.

IIA.

Almagro Basch, Martín, 1981. “Los Grabados de Trazo Múltiple en el Arte Cuaternario Español” in Altamira Symposium. Actas del Symposium Internacional Sobre Arte Prehistorico. Madrid, Asturias, Santander, 1979, 27–72, Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, Madrid, Spain. ISBN: 84-7483-182-2.

Spain. Europe. Paleolithic art. Multiple outline motif(s).

Dialnet, Biblio.

Almago Basch, Martin and Garcia Guinea, M. A., eds., 1972. Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 645 pgs, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Spain. France. Britain, British Isles. Europe. Algeria, North Africa. Paleolithic art.

LMRAA.

Almagro Basch, Martín et al., 1968. Altamira, Cumbre del Arte Prehistórico, 298 pgs, Instituto Español de Antropología Aplicada, Madrid, Spain.

Altamira, Santander, Spain. Europe. Paleolithic art.

ABMARB.

Almagro, Martin, 1964. “El Problema de la Cronologia del Arte Rupestre Levantino Espanol” in Prehistoric Art of the Western Mediterranean and the Sahara Viking Fund Publications in Anthropology, 102–11, Wenner-Gren Foundation for Anthropological Research, New York, New York.

Levantine, Spain. Europe. Paleolithic art. Chronology.

LMRAA.

Almargo, Martin, 1964. “El Problema de la Revision de la Cronologia del Arte Rupestre Cuaternario” in Miscelánea en Homenaje al Abate Breuil, (1877–1961), Edited by E. Ripoll Perello, vol. I: 87–100, Diputacion Provincial de Barcelona, Instituto de Prehistoria y Arqueología, Barcelona, Spain.

Europe. Paleolithic art. Chronology.

LMRAA.

Almagro Gorbea, Martin, 1972. “Descubrimiento de una Cueva con Arte Rupestre Paleolitico en la Provencia de Albacete” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 475–501, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

La Cueva del Nino, Albacete Province, Spain. Europe. Paleolithic art.

LMRAA.

Almagro Gorbea, M., 1973. “La Cueva del Nino (Ayna, Provincia de Albacete, Espana), un Yacimiento con Representaciones de Estilo Paleolitico y Levantino” in I.P.E.K. (Jahrbuch fur Praehistorische und Ethnographische Kunst) 23: 10–24, Walter de Gruyter & Co, ISSN: 0075-0468.

Cueva del Nina, Ayna, Provincia de Albacete, Spain. Europe. Paleolithic art. Levantine art.

BARAMP.

Almagro, M., Garcia Guinea, M.A., and Berenguer, M., 1972. “La Epoca de las Pinturas y Esculturas Policromas Cuaternarias en Relacion con los Yacimientos de las Cuevas: Revalorizacion del Magdaleniense III” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 467–73, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Europe. Paleolithic art.

LMRAA, Biblio.

Alonso Silio, R., 1986. “El Modelado Interior de los Grabados Rupestres Paleolíticos del Norte de la Península Ibérica” in Estudio de Arte Paleolítico 133–214, Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, ISBN: 84-505-5052-1.

Northern Iberian Peninsula, Spain. Europe. Paleolithic art.

Dialnet.

Alpert, Barbara Olins, 2008. The Creative Ice Age Brain. Cave Art in the Light of Neuroscience, 247 pgs, Foundation 20 21, Santa Fe, New Mexico. ISBN: 1934171107/1-934171-10-7.

Europe. Human universals. Neuroscience. Paleolithic art.

Abstract: “A haunting mystery surrounds the magnificent Ice Age art that is found mainly in the caves of Western Europe. In this substantial new study, scholar Barbara Alpert approaches this art using information from psychology and discoveries in neuroscience. Techniques such as computerized tomography (CT) scans and functional magnetic resonance imaging (fMRI) have demonstrated an enormous amount about the working of the brain. By examining the oldest-known human-made images in the light of this new information, Alpert reveals many of the impulses that underlie their creation. In a detailed comparison of Ice Age images with similar examples found throughout art history, Alpert argues that the approach of these earliest artists was not unique, but forms part of a continuum linking the distant past with the present. She shows how the art is based on a visual language found worldwide--one that appears to be universal for our species.”

Biblio, LMRAA, RASNW4.

Alpert, Barbara Olins, 2012. “La Grotte de Niaux, Théâtre des Illusions” in L’Anthropologie 116(5): 680–93, Masson, ISSN: 0003-5521.

http://barbaraolinsalpert.com/barbaraolinsalpert.com/Barbara_Olins_Alpert_files/anthropologie.pdf (accessed on 19 August 2015).

Salon Noir, Niaux Cave, Ariege, Haute Pyrenees, France. Europe. Optical illusion. Crossed bison motif(s). Paleolithic art.

Abstract: “Niaux Cavern, one of the great decorated caves, has been continuously open to the public. Despite its apparent accessibility, there is much that remains beyond our comprehension. One of the most inaccessible images is in the much visited Salon Noir. It is panel number four which contains a powerful but puzzling figure sometimes referred to as the Crossed Bison. This paper is an attempt to reach into the mind of the individual who produced that image to show how that artist’s evident understanding of optical illusions, as well as an intuitive understanding of the theory of mind, propelled its creation for a specific graphic purpose.”

Sciencedirect.com

Alpert, Barbara Olins, 2013 (November). “A Further Look at Stories About Rock Art” in Rock Art Research 30(2): 150–51, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Europe. Comment on: Oscar Moro Abadia, “Rock Art Stories: Standard Narratives and Their Alternatives”, RAR, 30(2): 139–73. Rock art studies. History of research. Art history. Paleolithic art. Interpretation. Narrative. Eurocentrism. Cultural Colonialism. Linearity. Progressiveness.

LMRAA.

Alpert, Barbara Olins, 2013. “The Meaning of the Dots on the Horses of Pech Merle” in World Rock Art, Special Issue, R.G. Bednarik, ed. Arts, 2(4): 476–90, ISSN: 2076-0752. doi:10.3390/arts2040476 (accessed on 13 September 2014).

Pech Merle, France. Europe. Paleolithic art. Horse with dots motif(s).

Abstract: “Recent research in the DNA of prehistoric horses has resulted in a new interpretation of the well-known panel of the Spotted horses of Pech Merle. The conclusion that has been popularized by this research is that the artists accurately depicted the animals as they saw them in their environment. It has long been evident that some artists of the European Ice Age caves were able to realize graphic memesis to a remarkable degree. This new study of the genome of ancient horses appears to confirm the artist’s intention of creating the actual appearance of dappled horses. I will question this conclusion as well as the relevance of this study to the art by examining the Spotted horses in the context of the entire panel and the panel in the context of the whole cave. To further enlarge our view, I will consider the use of similar dots and dappling in the rock art of other paleolithic people. The visual effect of dots will be seen in terms of their psychological impact. Discoveries by neuroscientists regarding the effect of such stimuli on human cognition will be mentioned. I will conclude with another possible interpretation of the meaning of the Spotted horses of Pech Merle.”

UVAP, Internet.

Alteirac, Andre and Vialou, Denis, 1980. “La Grotte du Mas-d’Azil. Le Reseau Orne Inferieur” in Prehistorie Ariegeoise XXXV: 59–72, Societe Prehistorique de l’Ariege, Toulouse, France.

GROTTE DU MAS-D’AZIL, ARIEGE, FRANCE. EUROPE. PALEOLITHIC ART. SETTING: ROCK FEATURE INCORPORATION.

LMRAA.

Alteirac, Andre and Vialou, Denis, 1984. “Grotte du Mas-d’Azil” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 389–94, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Mas-d’Azil, Midi-Pyrenees, Ariege, France. Europe. Paleolithic cave art. Bison, horse, bovid, cervid, bird, feline, animal red dots, cruciform, sign motif(s).

LMRAA.

Altuna Etxabe, Jesús, 1994. “La Relación Fauna Consumida-Fauna Representada en el Paleolítico Superior Cantábrico” in Ejemplar Dedicado a: Arte Paleolítico Complutum 5: 303–12, Universidad Complutense: Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164333 (accessed on 1 December 2011).

Cantabria, Spain. Europe. Paleolithic art. Animal (fauna) motif(s). The relationship between animals consumed and animals represented in paleolitihic art. Game hunting.

Abstract: “This study compares the frequency of animal representations in the Cantabrian cave art to that of food remains iin the sorne regíon. This camparison is first established for each site, when possible, and then it is globally analyzed The results show no correspondence and even a contraposition between both sample groups. This contraposition is more evident in Eastern than in Western Cantabria, as the Solutrean and Magdalenian subsistence basis is constituted by the red deer or the ibex, followed by the chamois and most of the figures represented are bisons and horses. ln any case, the cynegetic appetites of Palaeolithic man differ from the “interests” they showed when the time came to paint and engrave animals on the cave walls.”

Dialnet.

Altuna Etxabe, Jesús, 1994. “El Arte Rupestre Paleolítico en el País Vasco” in Revista Internacional de los Estudios Vascos/Eusko Ikaskuntzen Nazioarteko Aldizkaria/Revue Internationale des Etudes Basques / International Journal on Basque Studies, RIEV 39(1): 13–26, Sociedad de Estudios Vascos, Eusko Ikaskuntza, ISSN: 0212-7015.

http://www.euskomedia.org/PDFAnlt/riev/39/39013026.pdf (accessed on 7 January 2012).

Basque Country, Spain. Europe. Paleolithic art. Aurignacian-Perigordian, Solutrean, Magdalenian.

Abstract: “Se expone el arte rupestre existente en Euskadi, distribuido en los distintos yacimientos o santuarios existentes. Entre los santuarios hay uno (Venta Laperra) de época arcaica, perteneciente al ciclo uriñaco-perigordiense. Otros fueron realizados durante la fase antigua del Magdaleniense (Arenaza y Alkerdi) y la mayoría durante épocas más avanzadas del mismo período.”

Dialnet, Refdoc.fr.

Altuna, Jesús, 1997. L’Art des Cavernes en Pays-Basque. Les Grottes d’Ekain et d’Altxerri., 200 pgs, Editions du Seuil, Paris, France.

Ekain Cave and Altxerri Cave, Pays-Basque, Spain. Europe. Paleolithic art.

Internet, LMRAA, Biblio.

Altuna, Jesus, 1997. Ekain y Altxerri: Dos Santuarios Paleoliticos en el Pais Vasco, 200 pgs, Haranburu, San Sebastian. ISBN-10: 8489923027 ISBN-13: 978-8489923027.

Ekain, Altxerri, Basque Country, Spain. Europe. Paleolithic art.

Biblio, Internet.

Altuna, Jesús and Apellaniz, Juan Maria, 1976. “Las Figuras Rupestre Paleoliticas de la Cueva de Altxerri, (Guipuzcoa)” in Munibe XVIII(1–3): 5–242, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet) 2172–4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/1976001244.pdf (accessed on 26 November 2011).

Cueva de Altxerri, Guipuzcoa, Spain. Europe. Paleolithic art. Bison, bear, geometric motif(s).

ICOMOS, Biblio, Internet.

Altuna Etxabe, Jesús and Mariezkurrena, Koro, 2008. “Nuevos Hallazgos en la Cueva de Ekain (Gipuzkoa, País Vasco)” in Zephyrus: Revista de Prehistoria y Arqueología 61: 17–32, Universidad de Salamanca, ISSN: 0514-7336.

http://dialnet.unirioja.es/servlet/articulo?codigo=3157623 (accessed on 24 August 2011).

Ekain Cave, Gipuzkoa, Basque Country, Spain. Europe. Paleolithic art. Rock feature incorporation. Vulva, bovid motif(s).

Abstract: “We describe the new findings in Ekain cave due to the replica that has been done of this cave. In two cases, ?vulva and bovid?, the relief of the wall has been used such as edges of the rock, volumes, cracks or small holes, and this has been repited in many other paintings of this cave. The “vulva” is a fusiform hole with red painting in it, the same red painting as the horse nearby. The posible “bovid” is a ridge in the rock that may suggest the abdomen of an animal where the ?legs and arms? have been removed as well as the head and the ‘thorax”. This is the reason why the paper starts describing the use of the cave relief in other known cases in this cave. The rest of the new findings are lines, dots and black and red stains. Some of these are in the Auntzei Gallery near the salmon and the small goats that are in this Gallery. There are a total of 8 red stains, 1 black stain, 5 red dots, 1 black dot and 5 black line or strokes. In Erdialde, the central area of the cave, there are more red stains as well as black lines and dots: 4 red stains, 2 red dots, 4 black dots and 7 black strokes or lines.”

Dialnet.

Altuna Etxabe, Jesús and Mariezkurrena, Koro, 2010. “Pinturas Rupestres en la Galería Superior de la Cueva de Altxerri (Aia, Gipuzkoa)” in Zephyrus: Revista de Prehistoria y Arqueología 65: 65–73, Universidad de Salamanca, ISSN: 0514-7336.

http://dialnet.unirioja.es/servlet/articulo?codigo=3246993 (accessed on 24 August 2011).

Cueva de Altxerri, Aia, Gipuzkoa, Spain. Europe. Paleolithic art.

Abstract: “We describe new details of a complex figure made with red paint in a superior gallery of Altxerri cave. The head of a bison with a corniform motif stands out among other strokes of difficult interpretation. This collection of paintings has no correlation with the numerous engravings and black paintings of the main gallery of this cave. There is no access to this superior gallery from the main gallery of the cave so the Paleolithic artist would have gained access through another entry from the mountain that is unknown in the present. Near the collection of paintings described there is a bison vertebra stuck by its spinous apophysis in a crack on the rock. The C14 dating of the vertebra has not been possible due to the lack of collagen in the sample. Underneath this figure, tarsal remains of two individuals of Rupicapra rupicapra were found dated 34195 ± 1235 y 29940 ± 745 BP. The contemporaneity of the remains and the figure cannot be established.”

Internet, Dialnet.

Altuna Etxabe, Jesús, Mariezkurrena, Koro, Ríos, Federico and Wesbuer, Jan, 2010–2011. “Contorno Recortado de Ave en el Yacimiento de Ekain (Deva, País Vasco)” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, 65–66: 230–31, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Ekain, Deva, Basque Country, Spain (Pais Vasco), Europe. Bird motif(s). Paleolithic. Magdalenian. Mobiliary (portable) art. Bovid rib bone.

Abstract: “Se trata de un hallazgo reciente (2009) de un contorno recortado (contour découpé) sobre costilla de gran bóvido, en el yacimiento de Ekain, País Vasco. Representa un ave. Es la primera vez que aparece este motivo en un contorno recortado. Sus dimensiones son de 66,2 mm de largo por 19 de ancho y 3,4 de grosor medio. Se ha indicado en ambas caras de la pieza una serie de particularidades referidas al plumaje. Ha sido datado en 13.862 ± 129 BP (CAL (95,4 %) 15.050- 14.100 BC). Es atribuido a la primera fase del Magdaleniense Medio.”

Dialnet.

Altuna, J. and Mariezurrena, K., 2014. El Arte Rupestre Paleolitico en el Pais Vasco, 68 pgs + CDRom, Servicio Central de Gobierno Vasco, ISBN: 978-84-457-3360-8.

Basque Country, Spain. Europe. Presentation of 13 caves with paleolithic art.

Biblio.

Alvarez-Alonso, David, Yravedra, Jose, Arrizabalaga, Alvaro, Jorda Pardo, Jesus F. and Heridia, Nemesio, 2009. “La Cueva de Coimbre (Peñamellera Alta, Asturias, España): su yacimiento Arqueológico y su Santuario Rupestre. Un Estado de la Cuestión en 2008” in Munibe 60: 139–55, Sociedad de Ciencias de Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/2009139155AA.pdf (accessed on 27 November 2011).

La Cueva de Coimbre, Peñamellera Alta, Asturias, Spain. Europe. Paleolithic art. Magdalenian.

Abstract: “This article presents a historiographical update on Coímbre Cave, known up to the present for its important cave art collection, together with the information available to date from the digs conducted in 2008, enabling the documentation of a valuable Magdalenian site, which is currently being excavated and whose early results we present in this article.”

Internet, Refdoc.fr, RASNW4.

Alvarez Rubiera, Amor 1993–1994. “En torno a las Pinturas Parietales de la Cueva de la Pileta” in Mainake 15–16: 279–82, Centro de Ediciones de la Diputación de Málaga (CEDMA), ISSN: 0212-078X.

http://dialnet.unirioja.es/servlet/articulo?codigo=832323 (accessed on 1 December 2011).

Cueva de Pileta, Spain. Europe. Paleolithic art.

Dialnet.

Ambert, Paul, Galant, Philippe, Guendon, Jean-Louis, Colomer, Albert, Dainat, Denis, Beaumes, Bernard, Gruneisen, Alain, Requirand, Claude and Quinif, Yves, 2007. “Les Gravures et les Empreintes Humaines de la Grotte d’Aldene (Cesseras-Herault) dans Leur Context Chronologique et Culturel” in Bulletin du Musée d’Anthropologie Préhistorique de Monaco 47: 3–36, Musée d’Anthropologie Préhistorique de Monaco, ISSN: 0544-7631.

Grotte d’Aldene, Cesseras, Herault, France. Europe. Paleolithic art. Including preservation of human footprints and torch smears.

Abstract: “The Geological Survey and the filling of the archaeological record of the two upper galleries of the cave Aldene have clarified: on the first floor, the pace and pattern of sedimentation at the entrance to the gallery of prints, placed under seals stalagmite prior to 24,400 years after the passage of writers Paleolithic fixed first hypothesis 30,260 ± 220 years BP that date and style, but also the bestiary of parietal representations allow Aldene comparison with the art of the Chauvet cave (room Sacristy) - second floor, filling gradually over time the only natural entrance by collapses and concretions limited hibernating bears, from 26 200 [5400 + / − 5200] years BP 25000 [± 3900] BP. This closure was completed shortly after the passage of the Mesolithic (including AMS dating smears torch range between 8070 and 7790 years BP, between 9240 and 8405 cal BP). Blocks and stalagmites which block access are definitely dated 7300 [± 800] and 7600 [4300 + / − 4100] BP (U / Th stalagmites). The gallery therefore not isolated, has the exceptional preservation of footprints and smears torches sign a speleological tour of more than 800 meters (roundtrip).”

Refdoc.fr.

Ambert, P., Guedon, J.-L., Galant, P., Quinif, Y., Gruneisen, A., Colomer, A. and Dainat, D., 2005. “Attribution des Gravures Paléolithiques de la Grotte d’Aldène (Cesseras, Hérault) à l’Aurignacien par la Datation des Remplissages Géologiques” in Comptes Rendus: Palevol 4(3): 275–84, ISSN: 1631-0683.

Grotte d’Aldène, Cesseras, Hérault, France. Europe. Paleolithic art. Aurignacian. Dating. Geologic context.

Abstract: “Attribution of the Palaeolithic engravings of the cave of Aldène (Cesseras, Hérault) to the Aurignacian by the dating of geological deposits. The Palaeolithic engravings of the cave of Aldène were discovered [13] in a gallery revealed during the mining of phosphates in this karst [10]. Although only made up of about ten units, these engravings have given rise to several studies [13,15,21]. The most recent [19] highlights their similarities (faunal and stylistic) with the bestiary from the Chauvet cave [5–7]. The stratigraphic, palaeontological and chronological study of the cave deposits permits the dating of the presence of the Palaeolithic people between the deposition of two dripstone floors dated at 37 000 and 24 400 BP. The date of 30 260 ± 220 BP obtained on charcoal sampled from an intermediate level attests a human incursion in the Aurignacian period, which is contemporary with the first phase of the art of Chauvet.”

ScienceDirect.com, Biblio.

Amirkhanov, H. and Lev, S.Y., 2005. “Comparative and Stylistic Analyses of a Bison Figurine from the Zaraysk Site” in The Middle to Upper Paleolithic Transition in Eurasia: Hypotheses and Facts, A.P. Derevianko, ed., 106–15, Institute of Archaeology and Ethnography Press, Novosibirsk, Russia.

Zaraysk, Russia. Eastern Europe. Paleolithic art. mobiliary (portable) art on ivory (bone). Bison motif(s).

RASNW4.

Amirkhanov, H. and Lev, S., 2008. “New Finds of Art Objects from the Upper Paleolithic Site of Zaraysk, Russia” in Antiquity 82: 862–70, Antiquity Publications, ISSN: 0003-598X, 1745-1744.

Zaraysk, Russia. Eastern Europe. Paleolithic art. mobiliary (portable) art on ivory (bone).

RASNW4.

Amirkhanov, Khizri and Lev, Sergey, 2009. “Une Statuette de Bison Decouverte dans le Site de Zaraisk (Region de Moscou, Russie)” in Bulletin de la Société Préhistorique Française 106: 457–75. ISSN: 0249-7638.

http://www.persee.fr/doc/bspf_0249-7638_2009_num_106_3_13870 (accessed on 1 November 2017).

Zaraysk, Russia. Eastern Europe. Paleolithic art. mobiliary (portable) art in ivory (bone). Bison motif(s).

RASNW4.

Amirkhanov, H., ed., 2009. Paleolithic Studies in Zaraysk 1999–2005, 466 pgs, Paleograph Press, Moscow, Russia. ISBN: 978-5-89526-022-5.

Zaraysk, Russia. Eastern Europe. Paleolithic art. Mobiliary (portable) art on Ivory (bone). In Russian with 30 pages of summary in English.

Abstract: “The open-air Upper Palaeolithic site of Zaraysk was discovered in 1980. It is located in the centre of the small Russian town of that name, about 155 km southeast of Moscow. Since 1995, continuous and intensive research has been carried out at the site by the Zaraysk archaeological expedition of the Institute of Archaeology of the Russian Academy of Sciences. In recent years Zaraysk site became widely known after the discovery of remarkable art objects carved from mammoth ivory, including two female statuettes and a unique bison figurine. To date, a total area of 390 square meters has been excavated in the centre and periphery of the Zaraysk site. However, excavated area constitutes only a small part of the total area of cultural deposits. In terms of its stone tool inventory and typology, characteristic cultural features of its occupation layers (e.g., pits, hearths), and the organization of the settlement (at least in the area excavated to date), Zaraysk exhibits a pattern very similar to sites of the Kostenki-Avdeevo culture. Other parallels to the latter can be seen in the inventory of bone artifacts and adornments, and in the ornamental decoration of bone and ivory. The Introduction and Chapter 1 describe general stratigraphic features of Zaraysk site and in particular—features of the cultural layer III. Chapter 2 presents a comprehensive description of the qualitative and quantitative characteristics of the lithic assemblage, including all material recovered from the initial discovery of the site (27 years ago) through the year 2000 inclusive (at present more than 100,000 stone artifacts have been recovered from the site). Formal typological classification of the tools and debris is given, along with a detailed description and statistical analysis of the assemblage. Special attention is paid to typological and statistical comparison of Zaraysk lithic assemblage to that of Kostenki 1, 1 and Avdeevo. Chapter 3 describes bone working techniques and provides complete catalogue of worked bone objects recovered from the site. Chapter 4 is devoted to the detailed description and analysis of art objects. The archaeological context in which they were found as well as some of their peculiarities (such as the use of red ohre and intentional damage of objects) shed light on the role of these objects in ritual ceremonies of palaeolithic hunters. The analysis of isolated human tooth found at the base of a large pit of the second cultural level (23,000–20,000 years BP) is given in chapter 5. Chapter 6 presents the results of zooarchaeological, taphonomic, morphological and stable-izotope analyses of the mammalian remains from each cultural layer of the site. The final chapter is devoted to the problems of ecology and biology of Woolly Mammoth and long-debated question of whether the mammoth hunting was widespread in palaeolithic communities. The book is supplemented with the detailed English summary and complete English list of illustrations.”

RASNW4, Internet.

Amormino, Vanessa., 2000. “L’Art Paléolithique et le Carbone 14. Palaeolitic Art and Carbon 14” in L’Anthropologie 104(3): 373–81, Masson, Paris, France. ISSN: 0003-5521.

http://www.sciencedirect.com/science?_ob=PublicationURL&_tockey=%23TOC%237226%232000%23998959996%23348903%23FLP%23&_cdi=7226&_pubType=J&_auth=y&_prev=y&_acct=C000228598&_version=1&_urlVersion=0&_userid=10&md5=f9e095aa417acb2a58a7d63db7132cce (accessed on 20 August 2011).

Altamira, Santander, Spain. Palomera, Burgos. Europe. Carbon 14 dating. Paleolithic cave art.

Abstract: “Rock art can be more effectively dated thanks to the new 14C technique by A.M.S. Nevertheless, its results should be used with great care. The use of an interval of probability considered with two sigmas and the precision of sampling location are essential elements to avoid abusive interpretations. This information will be illustrated by the study of two concrete cases: Altamira (Santander) and Palomera (Burgos).”

Biblio, Internet.

Ampoulance, U. and Pintaud, R.C., 1955. “Une Nouvelle Gravure de la Grotte de La Greze (Dordogne)” in Bulletin de la Société Préhistorique Française 52: 249–51, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

La Greze, (Dordogne), France. Europe. Paleolithic art.

Biblio.

Anati, Emmanuel, 1993. “Har Karkom: Archaeological Discoveries Along the Route of the Exodus” in International Newsletter on Rock Art (5): 1–3, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora5/inora5.pdf (accessed on 22 April 2017).

HAR-KARKOM, NEGEV DESERT, ISRAEL. MIDEAST. ROCK FEATURES: ALTARS, STONE CIRCLES, LARGE FLINT BOULDERS OF FLINT, “SINUOUS AND PROVACATIVE”, ANTHROPOMORHIC SHAPES PLACED IN ARRANGEMENT, also FLINT PEBBLE GEOGLYPHS. PALEOLITHIC. AUTHOR MAKES CONTROVERSIAL ASSERTION THAT THIS IS THE SITE OF THE BIBLICAL MT. SINAI. PETROGLYPHS FOUND WHICH EVOKE THEMES FROM THE BOOK OF EXODUS.

LMRAA (PHOTO COPY), EAB.

Anati, E., 1995. La Religione delle Origini, 139 pgs, Edizioni del Centro Camuno di Studi Preistorici, Capo di Ponte.

Europe. Paleolithic cave art. Burials. Mobiliary (portable) art. Religions of the Paleolithic.

Biblio, ICOMOS.

Anati, Emmanuel, 1999. Har Karkom. 20 Anni di Ricerche Archeologiche Studi Camuni, vol. 20: 192 pgs, Edizioni del Centro Camuno di Studi Preistorici, Capo di Ponte, Brescia, Italy. ISBN: 8886621108 9788886621106.

Har Karkom (Mount Sinai), Negev Desert, Israel. Mideast. Biblical Archaeology. Cult sites. Exodus. Geoglyphs. Hebrews. Israelites. Midianites. Rock Art. Sanctuaries. Shrines. Worship. Paleolithic. Neolithic. Chalcolithic. Bronze Age. Iron Age. Hellenistic. Nabatean. Revised, enlarged and updated ed. of Spedizione Sinai, published in English in 1993 and in Italian in 1994.

Abstract: “Questo libro presenta molte prove inedite sulla montagna sacra, nel cuore del deserto dell’Esodo. Oltre mille siti archeologici, molti dei quali con santuari e altari, raccontano la storia sorprendente di un monte che fu un grande luogo di culto per varie tribù nel corso di diversi periodi. Da vent’anni procedono le ricerche ad Har Karkom. Le scoperte della missione archeologica italiana del CCSP, mettono in luce una montagna sacra con molte caratteristiche teologiche, archeologiche e topografi che del biblico Monte Sinai."

CEDC, Internet, EAB.

Anati, Emmanuel, ed., 2000. 40.000 Anni di Arte Contemporanea. Materiali per una Esposizione sull’Arte Preistorica d’Europa, 304 pgs, Archivio Wara, Edizioni del Centro, Capo di Ponte, Italy.

Portugal. Spain. France. Mont Bego. Italy. Eastern and Central Europe. Scandinavia. Azerbaijan. Exhibition catalog contains 14 articles on paleolithic art.

Abstract: “L’Europa sta ricercando la sua unità, ultimo capitolo di una storia che ha visto alleanze e guerre, amicizia e odi nel corso di 2.000 anni. La cronaca di questi due ultimi millenni è riassunta nei libri di testo, i cui contenuti variano in ogni paese adattandosi agli orgogli nazionali ed alle tendenze di indottrinazione per le nuove generazioni. Prima dei Romani, secondo la concezione scolastica, l’Europa era popolata dai “barbari”. Già attorno alla metà del I mill. a.C. costoro avevano creato le radici di una struttura geopolitica che riemergerà poi nel Medioevo. Gli Etruschi, i Celti, i Galli, i Liguri, gli Iberi o gli Illiri avevano fornito all’Europa le basi della sua identità culturale. Ma cosa c’era prima che si formassero queste culture? Qual è la storia dell’Europa dalle sue origini, dai tempi.”

Biblio, LMRAA, CEDC, EAB.

Anati, Emmanuel, 2001 (March). “La Grotta di Porto Badisco” in B.C. Notizie 9–14, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy.

Porto Badisco, Italy. Europe. Paleolithic art.

EAB.

Anati, Emmanuel, 2001. The Riddle of Mount Sinai: Archaeological Discoveries at Har Karkom Studi Camuni, vol. 21: 192 pgs, Edizioni del Centro Camuno di Studi Preistorici, Capo di Ponte, Brescia, Italy. ISBN 8886621159, 9788886621151.

Har Karkom (Mount Sinai), Negev Desert, Israel. Mideast. Biblical Archaeology. Cult sites. Exodus. Geoglyphs. Hebrews. Israelites. Midianites. Rock Art. Sanctuaries. Shrines. Worship. Paleolithic. Neolithic. Chalcolithic. Bronze Age. Iron Age. Hellenistic. Nabatean.

Abstract: “Har Karkom was a paramount cult centre and a sacred mountain beginning in the Palaeolithic Age, reaching its peak of religious activity in the third millennium BC, when it was a true “Mecca” for the desert people. If the epic accounts described in the books of Exodus and Numbers rely on a historical background, and if indeed an exodus from Egypt took place with stops at Mount Sinai and at Kadesh-barnea, the chronological context may refer only to the BAC period, and more precisely to phase BAC IV (2350-2000 BC). Har Karkom was a primary sacred mountain in that period, and the topography and archaeological evidence of its plateau appear to reflect the location and character of the biblical Mount Sinai.”

CEDC, Internet, EAB.

Anati, Emmanuel, 2006 (November). “Blocchi Istoriati Paleolitici dello Stile di La Ferrassie” in B.C. Notizie 45–63, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy.

http://www.ccsp.it/web/immagini/pdf/2006.pdf (accessed on 6 August 2016).

La Ferrassie, Les Eyzies, Dordogne, France. Europe. Paleolithic art. Vulva motif(s).

Internet.

Anati, Emmanuel, 2007. L’Odyssee des Premiers Hommes en Europe, 395 pgs, Fayard, Paris, France. ISBN-10: 2213628661 ISBN-13: 978-2213628660.

Europe. Prehistory. Paleolithic art. Neolithic. Hunter Gatherer. Bronze Age. Megalithic Art.(In French, translated from Italian). Spirituality.

Abstract: “Voici racontée l’histoire des premiers hommes en Europe, depuis les hominidés producteurs d’outils il y a près de 2 millions d’années jusqu’à l’aube de l’histoire écrite il y a 2 000 ans. Les hominidés de la famille erectus puis les Néandertaliens ont occupé l’Europe pendant 99 % de l’ère humaine et y ont laissé de nombreux vestiges de leur vie matérielle et spirituelle. Ils produisaient des outils, connaissaient l’usage du feu et construisaient des campements rudimentaires ainsi que des sépultures. Puis, il y a 40 000 ans, nos ancêtres directs, les Homo sapiens, sont arrivés en Europe selon deux voies de migration différentes, l’une venant du Proche-Orient, l’autre d’Asie centrale. Installés dans le sud et le centre de notre continent jusqu’à la disparition des grands glaciers, il se sont ensuite répandus jusqu’à la Scandinavie et au-delà du cercle polaire arctique, où vivent encore aujourd’hui les derniers peuples chasseurs. Quel était leur langage.”

LMRAA, EAB.

Anati, Emmanuel, 2007. “El Arte del Paleolítico” in Artes y Civilizaciones. Orígenes. Áfrifca—América—Asia—Oceanía, Joan Sureda, ed., 46–66, Lunwerg, Barcelona, Spain. ISBN: 9788497853088.

Europe. Paleolithic art.

EAB.

Anati, Emmanuel, 2016. “The Paleolithic Sanctuary at Har Karkom. A Sacred Landscape: is it Art? Is It Religion?” in Art and Religion, Emmanuel Anati, ed. Colloqui IX, 11–20, Atelier, Capo di Ponte, Italy.

Har Karkom, Negev Desert, Israel. Mideast. Paleolithic.

Academia.edu.

Anati, Emmanuel, 2017. “Decoding Prehistoric Art: Meaningful Examples of Gender Relations” in EXPRESSION: Quaterly e-Journal of Atelier in Cooperation with UISPP_CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples (15): 7–13, Atelier Editions, Capo di Ponte, Italy. ISSN: 2499-1341.

Europe. Paleolithic art. Gender relations. Pictograms, ideograms and psychograms.

LMRAA (digital download).

Anati, Emmanuel, 2017 (June). “Decoding Paleolitic Engravings on Bone” in EXPRESSION: Quaterly e-Journal of Atelier in Cooperation with UISPP_CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples (16): 9–23, Atelier Editions, Capo di Ponte, Italy. ISSN: 2499-1341.

https://www.academia.edu/33873387/Neuro-ethnological_Messages_from_Rock_Pictures (accessed on 14 July 2017).

Western Europe. Paleolithic art. Mobiliary (portable) art. Interpretation.

Abstract: “In the framework of the project “ Decoding Prehistoric Art ”, this paper describes the deciphering process following the methodology of conceptual anthropology, and presents examples of decoding graphic markings on Paleoli-thic bones from Western Europe.”

Academia.edu.

Anati, Emmanuel and Mailland, Federico, 2009. “Hk/86B, Palaeolithic Ceremonial Site at Har Karkom, Holy Mountain in the Desert of Exodus” in Making History of Prehistory: The Role of Rock Art, Papers/Produrre Storia dalla Preistoria: Il Ruolo dell’Arte Rupestre, Pre-Atti del XXIII Valcamonica Symposium (Capo di Ponte, 28 Ottobre–2 Novembre 2009), 41–45, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy. ISBN: 88-86621-33-7.

http://www.ccsp.it/web/INFOCCSP/VCS%20storico/vcs2009pdf/Anati%20&%20Mailland.pdf (accessed on 3 July 2015).

Hk/86B, Har Karkom, Negev Desert, Israel. Middle East. Paleolithic art.Open air shrine with pillar-sized naturally ocurring flint nodules assemblage that exhibit anthropomorphic and zoomorphic attributes. Manuport. Rock features: Geoglyph.

Abstract: “The discovery of the Palaeolithic Sanctuary HK/86b opened a new chapter in the Har Karkom Project. It showed that Har Karkom has been holy mountain since 40,000 years. This extraordinary site is located in a small valley on the edge of the plateau, where a group of standing pillars, placed in a cluster, follows a precise design at concentric circles. The pillars are natural flint nodes, that resemble anthropo-zoomorphic figures or anatomical parts of the human body. Part of them appears to come from a quarry 3 Km far from the Sanctuary. In the valley and around the pillars are located smaller objects, obtained from small chert bulbs with natural anthropo-zoomorphic shape, by adding in some cases anatomic details and attributes by Palaeolithic knapping technique. All around there are pebble drawings, made by stone circles and stone alignments, and flint flakes and implements belonging to the “Karkomian”, a transitional industry between Mousterian and Aurignacian. From the valley a steep path is going down to the Paran desert: along the path, there is a number of rock shelters, where pillars similar to those of the Sanctuary were erected in a similar way. Living sites of the same period and material culture are around the HK/86b: short-lasting stations with hut floors and implements. In the site HK/86b we face the most ancient site in the world where mythic beings were physically represented by a kind of proto-statues, with natural shapes suggesting anthropo-zoomorphic figures flaked and retouched by prehistoric men. The “statues” are ordered in an architectural composition. Thus, HK/86b has been interpreted as a ceremonial site, an open-air shrine, where the Karkomian people made their rituals. The definition of this so far unique site as a “Sanctuary” sounds appropriate.”

LMRAA, Internet.

André, Daniel and Chabaud, Michel, 2000. “Le Plus Grand Mammouth Totemique de la Prehistoire? Le Pont-d’Arc et son Possible Rapport avec l’Ornementation de la Grotte Chauvet (Vallon-Pont-d’Arc, Ardèche)” in Bulletin Préhistoire du Sud-Ouest Vol. 7(1), Association Prehistoire du Sud-Ouest, Carcassonne, France. ISSN: 1268-7944.

Grotte Chauvet, Vallon-Pont-d’Arc, Ardèche, France. Europe. Paleolithic. Rock feature: natural arch. Mammoth motif(s). Geomorphology.

Abstract: “Two of the seven explorers of the ornamented Chauvet cave, in the departement of Ardèche, in Southeast of France, have identified in the very famous natural stone bridge “ Pont-d’Arc “, the exact outlines of a mammoth, strange lusus naturae which might have attracted the first artists in prehistory. This feature intends to be a call to specialists (for isotopic dating more particularly), for them to demonstrate if the widest stone arch in the whole Europe was roughly identical 32 000 years ago.”

Internet

Andrieux, C., 1977. “Etude du Climat des Cavites Naturelles dans les Roches Calcaires (Grotte de Niaux)” in Gallia Préhistoire 20(1): 301–22, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1977_num_20_1_1563 (accessed on 25 October 2011).

Grotte de Niaux, Ariege, France. Europe. Paleolithic cave art. Cultural resource management. Conservation and preservation. Climate.

UVAP.

Andrieux, Claude, 1990. “Le Climat des Grottes” in Lascaux Premier Chef d’Oeuvre de l’Humanite Les Dossiers d’Archeologie (152): 64–67, Editions Faton, Dijon, France. ISSN: 1141-7137.

Lascaux, Montignac, Dordogne, Perigord, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Microclimates.

LMRAA.

Angas, Jorge and Bea, Manuel, 2014. “Documentación Geométrica de la Cueva con Arte Paleolítico de la Fuente del Trucho (Asque-Colungo, Huesca)” in Cien Anos de Arte Rupestre Paleolitico. Centenario del Descubrimiento de la Cueva de La Pena de Candamo (1914–2014), M.S. Corchon and M. Menendez, dirs., 207–17, Ediciones Universidad, Salamanca, Spain. ISBN: 978-84-9012-480-2.

Fuente del Trucho, Asque-Colungo, Huesca, Spain. Europe. Paleolithic art.

Biblio.

Angulo, J. and Garcia, M., 2005. Sexo en Piedra. Sexualidad, Reproduccion y Erotismo en Epoca Paleolitica, 192 pgs, Ediciones Luzan, Madrid, Spain. ISBN: 84-7989-324-9.

Sex, sexuality motif(s). Paleolithic art.

Biblio, RASNW.

Angulo, J.C., and Garcia-Diez, M. 2006. “Diversity and Meaning of Paleolithic Phallic Male Representations in Western Europe” in Actas Urológicas Españolas, Vol. 30(3): 254–67.

Western Europe. Paleolithic art. Male, phallic motif(s).

RASNW4.

Angulo, J.C. and Garcia-Diez, M., 2007. “El Significado de la Ereccion, La Genitalidad y Otras Representaciones de Indole Urologico en el Imaginario Paleolitico” in Actas Urológicas Españolas 60(8): 845–58.

Western Europe. Paleolithic art. Male, phallic motif(s).

RASNW4.

Angulo, Javier C. and Garcia-Diez, Marcos, 2009. “Male Genital Representation in Paleolithic Art: Erection and Circumcision Before History” in Urology 74(1): 10–14, Societe Internationale d’Urologie.

http://www.goldjournal.net/article/S0090-4295(09)00083-1/abstract (accessed on 25 November 2011).

Europe. Male. Genital. Circumcision. Erection. Gender. Paleolithic art.

Abstract: ‘To report on the likely existing evidence about the practice of circumcision in prehistory, or at least a culture of foreskin retraction, and also the meaning of erection in Paleolithic minds. The origin of the ritual of circumcision has been lost in time. Similarly, the primitive anthropologic meaning of erection is undefined. We studied the archeologic and artistic evidence regarding human representations performed during the Upper Paleolithic period, 38 000 to 11 000 years BCE, in Europe, with a focus on genital male representations in portable and rock art. Drawings, engravings, and sculptures displaying humans are relatively scarce, and <100 examples of male genitals are specifically represented. Some depict a circumcised penis and other represent urologic disorders such as phimosis, paraphimosis, discharge, priapism, or a scrotal mass. In addition, a small number of phalluses carved in horn, bone, or stone, with varying morphology, has survived to the present and also reveals a sustained cult for male erection and foreskin retraction not limited to a particular topographical territory. The very few noncoital human or humanoid figures with marked erection appear in a context of serious danger or death. Therefore, erection could be understood as a phenomenon related to the shamanic transit between life and death. The erection in Paleolithic art is explicitly represented in almost all the figures defined as unequivocally male that have survived to the present and in many objects of portable art. Circumcision and/or foreskin retraction of the penis are present in most of the works.”

Citeulike, Refdoc.fr.

Anonymous, 1984. “Grotte de la Fontmartine” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 76, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de la Fontmartine, Dordogne, Petite Beune, France. Europe. Paleolithic cave art.

LMRAA.

Anonymous, 1990. “Emergence des Eyzies” in Une Histoire de la Préhistoire en Aquitaine Paléo, Revue d’Archéologie Préhistorique 1(H-S): 44–50, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1990_hos_1_1_1418 (accessed on 17 November 2011).

Les Eyzies, Perigord, France. Europe. Paleolithic art. History of research.

Persee.

Anonymous, 1992. “The Bisons Erased in Mayriere-Superieure (Bruniquel, Tarn-et-Garonne, France)” in International Newsletter on Rock Art (2): 6–7, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora2/inora-2.pdf (accessed on 22 April 2017).

MAYRIERE-SUPERIEURE, BRUNIQUEL, TARN-ET-GARONNE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTING. BISON MOTIF UNWITTINGLY ERASED FROM CAVE WALL DURING AN UNAUTHORIZED BOY SCOUT EXPEDITION. CONSERVATION AND PRESERVATION. CULTURAL RESOURCE MANAGEMENT.

LMRAA (PHOTO COPY).

Anonymous, 1996 (January 20). “Portugese Rock Art Raises Ruckus” in Science News 149(3): 41.

COA VALLEY, PORTUGAL. EUROPE. BRIEF ARTICLE REVIEWING THE CONFLICT BETWEEN DIRECT DATING AND STYLISTIC ANALYSIS CLAIMS FOR THIS SITE. PALEOLITHIC vs. HOLOCENE AGE.

LMRAA (ELECTRONIC COPY).

Anonymous, 2000 (May). “‘Archaeologically Dated Palaeolithic Rock Art’ at Fariseu, Coa Valley” in Rock Art Research 17(1): 65, Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

FARISEU, COA VALLEY, PORTUGAL. EUROPE. PALEOLITHIC ART. DIRECT DATING BY ASSOCIATION WITH SOILS STRATA. EQUINE (HORSE) and BOVINE (COW, CATTLE) MOTIF(S).

LMRAA.

Aparacio Perez, Jose, 1990. “Chronologie de l’Art Mobilier Paleolithique dans l’Espagne Mediterraneenne” in L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21 November 1987, Jean Clottes, dir., 101–19, Ministere de la Culture, Foix, France. ISBN: 2-11-085550-9.

Grotte du Parpallo (Valencia), Grotte du Gregori (Falset, Tarragone), Grottes des Mallaetes (Barig), Grotte du Volcan del Faro (Cullera, Valencia), Abri du Tossal de la Roca (Vall d’Alcala, Alicante), Grotte Matutano (Vilafames, Castellon), Grotte del Barranc (felix, Vall de Laguard, Alicante), Grotte de les Cendres (Teulada, Alicante), Mediterranean, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Chronology.

LMRAA.

Apellaniz, Juan Maria, 1979–1980. “El Método de Determinación de Autor y su Aplicación a los Santuarios Paleolíticos del País Vasco” in Zephyrus: Revista de Prehistoria y Arqueología 30–31: 15–22, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/view/1374/1444 (accessed on 3 December 2011).

Basque Country, Spain. Europe. Paleolithic art. Authorship.

Abstract: “El trabajo pretende mostrar, de forma muy sumaria, los principios y primeras aplicaciones del método de determinación de maestros, que se usa en Historia del Arte, a dos Santuarios paleolíticos del País Vasco (Altxerri y Ekain, Guipúzcoa). Se trata de identificar autores o grupos de ellos (escuelas) de las figuras pintadas o grabadas con la finalidad de aportar algunos datos concretos al conocimiento de la forma en que estos santuarios han sido decorados. Se ofrece un modelo de aplicación teórico hecho a base de la identificación de una escuela que se llamaría de Ramales formada por un pequeño grupo de autores que trabajan en varios santuarios como Covalanas, La Haza, La Pasiega, ere. Se presentan los criterios por los que se puede determinar un autor o escuela paleolíticos y que consisten en la forma de aplicación del canon del estilo o época así como la forma de realizar los contornos, quedando las técnicas en un segundo término de importancia para ser utilizadas en casos especiales. Las conclusiones que se ofrecen se consideran muy provisionales por hallarse el método en una fase de experimentación.”

Internet.

Apellániz, Juan María, 1984. “La Methode de Determination d’Auteur Appliquee a l’Art Parietal Paleolithique. L’Auteur des Cervides a Silhouette Noire de Las Chimeneas (Santander, Espagne)” in L’Anthropologie 88(4): 531–37, Masson, Paris, France. ISSN: 0003-5521.

Las Chimeneas, Santander, Spain. Europe. Paleolithic art. Authorship. Deer motif(s).

IIA.

Apellániz, Juan María, 1986. “Analisis de la Variacion Formal y la Autoria de la Iconografia Mueble del Magdaleniense Antiguo de Bolinkoba (Vizcaya)” in Munibe 38: 39–59, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 0027-3414.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/1986039059AA.pdf (accessed on 26 November 2011).

Bolinkiba, Vazcaya, Spain. Europe. Paleolithic art. Mobiliary (portable) art.

Abstract: “Analysis of the formal variation and the autorship on the iconography of the lower Magdalenian of Bolinkoba (Vizcaya). The autor explores the possibilities of attributing to a singel artist a number of figures with certain perceptible formal differences. He does this by studying the particularities of a mountain scene on one of the sides of a mountain scene on one of the sides of a compressor dating from the Ancient Magdalenian Period found in the cave of Bolinkoba (Vizcaya). The autor explores the extent to which objective criteria concerning authorship in paleolithic iconography are compatible with the degrees of variation found in each artist. He does this by comparing various samples of mobiliar iconography taken from a number of French sites. Finally the autor speculates on the possibilities of attributing to one singel artist other figures found at the same level of Bolinkoba.”

Biblio.

Apellániz, Juan María, 1987. “Aplicación de Técnicas Estadisticas al Análisis Iconográfico y al Método de Determinación del Autor” in Munibe 39: 39–60, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 0027-3414.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/1987039060AA.pdf (accessed on 26 November 2011).

France. Spain. Europe. Paleolithic art. Statistical analysis.

Author Abstract: “The author presents a model for the application of the techniques used in advanced statistics (factorial correspondence analysis, as proposed by J.P. Benzecri) to the formal analysis of the contours of Palaeolithic rock art figures in various francocantabric caves. The figures were first reduced to the same scale, then an axis was designed along which continuous variables could be taken relative to the dorsal (superior) and ventral (inferior) contours. Various axes and a number of variables were tested. Graduations in the degree of formal similarities were used to form an ensemble of figures and to attribute authorship to the same individual. The author supposes that this type of analysis helps in determining degrees of affinity in such a way that a rational hypothesis relative to author or school can be accepted. A.A. and M.B.(transl.)”

AATA, Internet.

Apellaniz, Jean-Marie, 1990. “Modele d’Analyse d’une Ecole dans l’Iconographie Mobiliere Paleolithique: L’Ecole des Gravures de Chevaux Hypertrophies de La Madeleine” in L’Art des Objets au Paléolithique vol. 2, Les Voies de la Recherche, Actes du Colloque de Foix-Le Mas d’Azil, 16-21, Nov. 1987, Jean Clottes, dir., 105–37, Ministère de la Culture, Paris, France. ISBN: 2-11-085550-9.

La Madeleine, France. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian. Horse motif(s).

IIA, LMRAA.

Apellaniz, J.-M., 1992. “Modele d’Analyse d’un Auteur de Representations d’Animaux de Differentes Especes: Le Tube de Torre (Pays Basque, Espagne)” in L’Anthropologie 96(2–3): 453–72, Masson, Paris, France. ISSN: 0003-5521.

Tube of Torre, Basque Country, Spain. Europe. Paleolithic art. Animal, species motif(s). Authorship.

IIA

Apellániz, Juan María, 2000. “Paleolithic Form: Its Artistic Nature, The Search for Its Creators, Its Importance in the History of Art” in International Newsletter on Rock Art (27): 19–22, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Europe. Paleolithic cave art. Style analysis (of form). Contour, proportion, relief, and perspective. Attempt to distinguish individual artists.

LMRAA.

Appelaniz, Juan María, 2001. La Abstraccion en el Arte Figurativo del Paleolitico. Analisis del Componente Abstraction en la Figuracion Naturalista del Grafisimo Paleolitico, 231 pgs, Universidad de Deusto, Bilbao, Spain. ISBN: 84-7485-739-2.

Europe. Abstraction is inherent to the entire history of Paleolithic art. Style.

Biblio, Dialnet.

Apellaniz, J.-M., 2001. La Abstraccion en el Arte Figurativo del Paleolitico Cuadernos de Arqueologia, Vol. 18, Universidad de Deusto, Bilbao, Spain.

Spain. Europe. Paleolithic. Abstraction in figurative art.

RASNW3.

Apellániz, Juan María, 2002. “Abstraction in Paleolithic Figurative Graphic Art” in International Newsletter on Rock Art (32): 16–20, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Europe. Paleolithic art. Figurative. Abstraction.

LMRAA.

Apellániz, Juan María, 2003. “The Use of Experiment to Verify the Hypothetical Attribution of Authorship in Parietal Art” in International Newsletter on Rock Art (37): 23–27, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora37/inora-37.pdf (accessed on 22 April 2017).

Arenaza, Viscaya, Basque Country, Spain. Europe. Paleolithic art. Attribution of individual authorship.

LMRAA.

Apellaniz, Juan Maria, 2003. “The Theoretical and Practical Necessity of Attributing a Hypothectical Author to Works of Paleolithic Art” in International Newsletter on Rock Art (35): 24–28, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora35/inora-35.pdf (accessed on 22 April 2017).

Europe. Paleolithic art. Individual artists. Style analysis.

LMRAA.

Apellániz, Juan María, 2004. “La Interpretacion del Arte Paleolitico Mediante la Hipotesis de la Evolucion de los Estilos o Mediante los de la Forma y Atribucion de Autoria” in Trabajos de Prehistoria 61(1): 63–80, Consejo Superior de Investigaciones Científicas, CSIC: Servicio de Publicaciones, ISSN: 0082-5638.

http://tp.revistas.csic.es/index.php/tp/article/view/29/29 (accessed on 7 December 2011).

Spain. Europe. Paleolithic art. Style.

Abstract: “El autor sostiene que la hipótesis de la evolución de los estilos para explicar la variedad de las formas de las figuras paleolíticas no tiene valor. Porque carece de una teoría de la forma y presenta grandes vacíos y contradicciones. Para sustituirla propone una teoría de la forma según la cual las diferencias se interpretarían como combinaciones aleatorias de variaciones también aleatorias en la delineación de los contornos, el modelado y la perspectiva a partir de un modelo común invariable de base lejanamente figurativa. Para tratar este tipo de figuras propone como medio adecuado el método de atribución de su autoría. Este permitiría comprender las relaciones formales entre figuras, la formación de tradiciones o “escuelas”, y el proceso de decorado de los santuarios. Se describe el mecanismo lógico del discurso y la argumentación del método, basados en la observación macroscópica, su tratamiento estadístico y la experimentación replicativa.”

RASNW3, Dialnet.

Apellaniz, Juan Maria, 2005–2006. “La Metodología de la Hipótesis de Atribución de Autor Aplicada a las Figuras Grabadas en los Omoplatos de El Castillo (Cantabria. España)” in Homenaje a Jesus Altuna Munibe 57(3): 207–16, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/200503207216AA.pdf (accessed on 27 November 2011).

El Castillo, Cantabria, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone. Authorship.

Abstract: “It is a critical analysis on the methodological validity of the criteria of authorship attribution applicable to the Magdalenian animal figures engraved on the scapulas of the El Castillo cave (Cantabria. Spain) by the Prof. Fernández Lombera.”

Internet.

Apellaniz, Juan-Maria, 2006. “Regarding Methodology in Interpreting Movement in Paleaeolithic Representations” in International Newsletter on Rock Art (46): 24–27, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

France. Europe. Paleolithic art. Analysis of the representations of “movement”. Motion.

LMRAA.

Apellániz, Juan María, 2007–2008. “Nuestra Inconsciente y Equivocada Manera de Contemplar el Arte Paleolítico” in Homenaje a Ignacio Barandiarán Maestu, Javier Fernández Eraso, Juan Santos Yanguas; Ignacio Barandiarán Maestu (hom.), coords. Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas Vol. 24–25(1): 261–67, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

Europe. Paleolithic art.

Dialnet.

Apellániz, Juan María and Amayra, I., 2008. La Forma del Dibujo Figurativo Paleolitico a Traves de la Experimentacion. Una Aproximacion desde la Prehistoria y la Psicologia Cognitiva Cuadernos de Arqueologia, Vol. 21: 289 pgs, Universidad de Deusto, Bilbao, Spain. ISBN: 978-84-9830-145-8.

Europe. Paleolithic art. Authors argue that paleolithic images have basically not changed from their origins to Neolithic times.

Biblio.

Apellaniz, Juan-María, 2010. “Application de la Méthodologie de l’Histoire de l’Art à l’Etude de l’Art Paléolithique: l’Attribution des Oeuvres Anonymes à ses Auteurs” in Proceedings of the XV World Congress UISPP (Lisbon, 4–9 September 2006) 35 Session C74: Methods of Art History Tested against Prehistory; Session C81: Spirals and Circular Forms: the Most Common Rock Art in the World, Session C85: European Cave Art; Session S02: Euro-Mediterranean Rock Art Studies; Session S07: Global State edited by Marc Groenen and Didier Martens (C74), Jane Kolber; John Clegg and Alicia Distel (C81), Kevin Sharpe and Jean Clottes (C85), Mila Simões Abreu (S02), Giriraj Kumar and Robert Bednarik (S07), James Keyser and Mavis Greer (WS37). British Archaeological Reports (BAR) International Series, (S2108): 5–12, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407306490.

Europe. Art history. Paleolithic art. Attribution of authorship.

Internet, LMRAA.

Apellániz, Juan María and Amayra Caro, Imanol, 2010–2011. “Application des Modèles Mathématiques à l’Hypothèse d’Attribution d’Auteur de Deux Figures de Cheval dits “Tarpans” de Niaux” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 65–66: 60–61, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Niaux, Midi-Pyrenees, France. Europe. Paleolithic art. Horse, Tarpan motif(s). Authorship. Mathematical modeling.

Abstract: “Se presentan tres estudios realizados con el objetivo de determinar la validez predictiva de diferentes variables relacionadas con la atribución de autoría. El primer estudio analiza el poder discriminante de la medición de segmentos de la figura en la identificación de los “tarpanes”. El segundo analiza qué variables del trazado de una muestra de figuras grabadas y dibujadas experimentales son más válidas y fiables para establecer la autoría. El tercer estudio plantea un método cualitativo dirigido a analizar dos figuras macroscópicamente muy semejantes entre sí por sutrazado, capaz de aumentar la probabilidad de la hipótesis de la atribución. De las implicaciones de los análisis realizados con este motivo se ofrece una manera distinta de la utilizada hasta ahora de comprender este arte.”

Dialnet.

Apellaniz, J.-M. and Amayra, I., 2012. “Application des Modeles Mathematiques a l’Hypothese d’Attribution de Auteur de Deux Cheval du “Tarpans” de Niaux” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 60-61, CD: 309–24, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. Mathematical analysis of authorship. Horse motif(s).

Biblio, LMRAA.

Apellániz, Juan María and Calvo Gomez, F., 1999. La Forma del Arte Paleolitico y la Estacistica. Analisis de la Forma del Arte Figurativo Paleolitico y su Tratamiento Estadistico Cuadernos de Arqueologia, (17): 388 pgs, Universidad de Deusto, Bilbao, Spain.

Europe. Paleolithic cave art. Analysis of form and style.

Biblio.

Apellániz, Juan María and Delluc, Gilles, 1999. “La Naturaleza de la Forma del Arte Paleolítico y la Teoría de la Evolución de sus Estílos” in 32,000 B.P.: Una Odisea en el Tiempo. Reflexiones sobre la Definicion Cronologia del Arte Parietal Paleolitico, R. Cacho and N. Galez, eds. Edades, Revista de Historica, Vol. 6: 187–95, Asociación Universitaria de Jóvenes Historiadores de Cantabria, Santander, Spain. ISSN: 1138-8560.

Europe. Paleolithic art. Style.

Dialnet.

Apellániz, Juan María, Ruiz Idarraga, R. and Amayra, I., 2002. “La Autoria y la Experimentacion en el Arte Decorativo del Paleolitico” in Cuadernos de Arqueologia (19), Universidad de Deusto, Bilbao, Spain.

Spain. Europe. Paleolithic art. Attribution of individual authorship.

Biblio.

Araujo, A. and Lejeunne, M., 1995. Gruta do Escoural: Necropole Neolitica e Arte Rupestre Paleolitica Trabalhos de Arqueologia, Vol. 8, Instituto de Gestao do Patrimonio Arquitetonico e Arqueologico (IGES PAR), Lisbon, Portugal.

Escoural, Portugal. Europe. Paleolithic art.

Abstract: “Esta monografia é o resultado quer da revisão e contextualização de materiais provenientes de antigas escavações arqueológicas, quer dos levantamentos da arte parietal na Gruta do Escoural. Neste âmbito assume especial relevo a publicação do Corpus dos motivos artísticos (pintura e gravura) identificados até esta data nesta cavidade.”

Biblio, Internet.

Archambeau, Claude and Archambeau, Monique, 1991. “Les Figurations Humaines Pariétales de la Grotte des Combarelles” in Gallia Préhistoire 33: 53–81, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1991_num_33_1_2285 (accessed on 25 October 2011).

Combarelles, France. Europe. Paleolithic art. Human, animal motif(s). Typology.

Abstract: “A study of the fifty human figures known at Combarelles were used to set up a typology. The chronological situation of the drawings has now been accurately determined. The human figures are regularly, associated with the animal most frequently represented in each cave. We believe that they may constitute evidence for an anthropocen- trism, which could be at the center of a new overall theory.”

Persee.

Arias Cabal, Pablo, 2007–2008. “Falange Grabada de la Galería Inferior de La Garma: Aportación al Estudio del Arte Mobiliar del Magdaleniense Medio” in Homenaje a Ignacio Barandiarán Maestu, Javier Fernández Eraso, Juan Santos Yanguas; Ignacio Barandiarán Maestu (hom.), coords. Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas 24–25(1): 97–129, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

La Garma, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art.

Dialnet.

Arias, Pablo, 2009. “Rites in the Dark? An Evaluation of the Current Evidence for Ritual Areas at Madalenian Cave Sties” in World Archaeology 4(2): 262–294, Routledge & Kegan Paul, Ltd., London, England. ISSN: 0043-8243.

http://www.tandfonline.com/doi/abs/10.1080/00438240902843964#preview (accessed on 19 January 2013).

Europe. Paleolithic art. Magdalenian. Ritual use of dark zones in caves.

RASNW4, Internet.

Arias, Pablo, 2015. “Deep Caves, Ritual and Graphic Expression: A Critical Review of the Archaeological Evidence on Hypogean Human Activity during the Upper Palaeolithic/Magdalenian” in Prehistoric Art as Prehistoric Culture, Studies in Honour of Professor Rodrigo de Balbín-Behrmann, Primitiva Bueno-Ramírez and Paul G. Bahn, eds., 99–110, Archaeopress, Oxford, England. ISBN: 9781784912222. Epublication ISBN: 9781784912239.

Europe. Paleolithic art. Deep caves (dark zone). Ritual.

Internet.

Arias-Cabal, Pablo Gonsalez-Sainz, Cesar, Moure-Romanillo, Alfonso and Ontanon-Peredo, Roberto, 1996. “Paleolithic Rock Art in La Garma Archaeological Complex, (Omono, Cantabria, Spain). A Preliminary Approach” in International Newsletter on Rock Art (14): 1–4, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora14/inora-14.pdf (accessed on 22 April 2017).

LA GARMA, OMONO (RIBAMONTAN AL MONTE), SANTANDER CITY, CANTABRIA, SPAIN. EUROPE. PALEOLITHIC CAVE PAINTINGS AND ENGRAVINGS. MAGDALENIAN STYLE HORSE, HAND STENCIL, DOTS, GRID, BISON MOTIF(S).

LMRAA.

Arias Cabal, P. and Otanon Peredo, R., eds., 2004. La Materia del Lenguaje Prehistorico. El Arte Mueble Paleolitico de Cantabria en su Contexto, 251 pgs, Consejería de Cultura, Turismo y Deporte del Gobierno de Cantabria., Santander, Spain.

Cantabria. Spain. Central Europe. Paleolithic art. Mobiliary (portable) art.

Biblio.

Arias Cabal, Pablo and Pérez Suárez, Pablo, 1993. “Las Pinturas Rupestres Paleolíticas de El Covarón: (Parres, Llanes, Asturias)” in Zephyrus: Revista de Prehistoria y Arqueología 46: 37–76, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/viewFile/4936/4974 (accessed on 5 December 2011).

El Covarón, Parres, Llanes, Asturias, Spain. Europe. Paleolithic art. Superposition. Chronology.

Abstract: “En el presente artículo se describe y estudia un nuevo conjunto de arte rupestre paleolítico descubierto en El Covarón (Llanes, Asturias). A partir de las superposiciones observadas y de la comparación con la evolución del arte paleolítico regional, se propone la existencia en esta cueva de tres fases de desarrollo artístico. La primera estaría representada por grabados lineales exteriores no figurativos. La segunda, ya en el interior de la cueva, correspondería a un santuario de signos rojos del estilo IV antiguo, en el que destaca uno cuadrangular en forma de parrilla, análogo a los de la cercana cueva de La Herrería. La tercera y última fase, atribuida a un momento avanzado del estilo IV antiguo, estaría integrada por un conjunto de zoomorfos negros de pequeño tamaño, entre los que predominan las cabras.”

Dialnet, Refdoc.fr.

Arias Cabal, Pablo and Perez Suarez, Carlos, 1995. “New Rock Paintings in El Covaron (Asturias, Spain)” in International Newsletter on Rock Art (10): 2–5, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora10/inora-10.pdf (accessed on 22 April 2017).

EL COVARON, ASTURIAS, LLANES DISTRICT, SPAIN. EUROPE. UPPER PALEOLITHIC CAVE PAINTINGS.

LMRAA (PHOTO COPY).

Arias, Pablo, García-Diez, Marcos, Hoffmann, Dirk, Maximiano Castillejo, Alfredo, Ontañon-Peredo, Roberto, Pike, Arias, Pablo, Laval, Eric, Menu, Michel, Sainz, César González and Ontañón, Roberto, 2011. “Les Colorants dans l’Art Pariétal et Mobilier Paléolithique de La Garma (Cantabrie, Espagne)” in L’Anthropologie 115(3–4): 425–445, Masson, ISSN: 0003-5521.

La Garma, Cantabria, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Pigment analysis.

Abstract: “La Garma cave is an Upper Paleolithic site located ca. 15 km from Santander (Cantabria, Spain). The lower gallery, which is accessible thanks to two wells, has paintings on the walls and numerous objects lying on the floor--objects made in bone or antler that are carved, engraved, and painted. The analysis of more than 50 samples taken from the walls or the objects (37 red, 11 black, five yellow, two brown, one purple) takes part in the global project of the chaîne opératoire comprehension of prehistoric painting activity. The analysis is aimed also to understand the organization of La Garma cave, looking for the various steps of decoration of the different rooms. The results bring to light the modulated realization of the rock paintings: few figures were painted rapidly without any specific intention; the majority, on the other hand, were realized after a complex preparation of the painting matter with the use of specific paint pots.” Abstractors: Author Abstract; and Ian N.M. Wainwright AATA No.: 2012-121845.

AATA.

Arrighi, Simona, Borgia, Valentina d’Errico, Francesco and Ronchitelli, Annamaria, 2008. “I Ciottoli Decorati di Paglicci: Raffi Gurazioni e Utilizzo” in Rivista di Scienze Preistoriche 58: 39–58, Istituto Italiano di Preistoria e Protostoria, Firenze, Italy. ISSN: 0035-6514.

Paglicci cave, Foggia, Italy. Europe. Paleolithic art. Mobiliary (portable) art. Incised pebbles.

Abstract: “In this paper we analyze nine pebbles (two of which are unpublished) coming from the mobiliary art assemblage of Paglicci cave (Foggia - Italy). The principals aims of the study are: To understand the production process of artistic incisions on the pebbles, through the study of the engravings, as the starting point for deciphering their symbolic and cognitive value. Every engraved stroke has in fact retained, at a microscopic level, important technological information and by means of experimental replication of the engravings, it has been possible to retrieve microscopic indexes which allow one to re-create the link between the result of the engraving, the tools used and the action performed. The importance of re-enacting the sequence of actions which led to the creation of the artistic object is given not only by the possibility to understand in depth the technique employed during such events, but, more importantly, by the possibility to test their cultural signifi cance. - To assess the cultural value of the artistic production, also through functional analysis. Engravings, different from cave art which has solely a symbolic value, are in this case carried out on artefacts used in every-day life. The identifi cation of use-wear traces on such objects, or at least on those which possess the necessary characteristics to suggest their likely utilization, is undertaken in an attempt to fi nd out whether such objects were used before and/or after they were engraved. Within the technological study of engravings and the functional analysis of pebbles, the interpretation of the archaeological data has been possible thanks to the comparison with the data obtained through replication under controlled parameters. Technological analysis of the incisions has underlined the employment of various engraving tools, or at least various active edges of the same tool. Strokes are generally redone several times to make them readable. Use-wear analysis has highlighted that the majority of pebbles has been used as retouchers or hammer stones (active percussion). Three pieces show use-wear far from the edges denoting a function of these pebbles as anvil (passive percussion) or mallet (indirect percussion). In two cases the surface has been abraded after utilization and before the engravings. All pebbles have been used before being engraved. This observation may suggest that pebbles, at a certain moment, lost a functional value for a different one. The care employed in preparing and engraving pebbles after utilization denotes the will of using no longer these objects, even though their life continues, as polish following the incisions show.”

Academia.com, Internet.

Aslin, Geoffrey D. and Bednarik, Robert G., 1984 (May). “Karlie - Ngoinpool Cave: A Preliminary Report” in Rock Art Research 1(1): 36–45, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Karlie-Ngoinpool Cave, South Australia. Pleistocene (paleolithic) cave art. Petroglyphs. Non-figurative cave art.

Author Abstract: “The discovery of an Australian cave with archaic rock art is briefly reported. Consisting of thousands of Pleistocene petroglyphs, this find demonstrates the magnitude of the recently discovered Australian cave ar tradition. This site possesses the largest known concentration of non-figurative cave ar in the world. This preliminary repor describes the find briefly, including the technique of etching the petroglyph, and proposes an appropriate study program for the next few years. Use of the cave as a rubbish pit for the last 100 years has protected the petroglyphs.”

LMRAA, AHCBS, AATA.

Aslin, G.D. and Bednarik, R.G., 1985 (November). “Moora Cave - A Preliminary Report” in Rock Art Research 2(2): 160–65, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Moora Cave, Mt. Gambier, southeastern South Australia. Aboriginal rock art. Parietal markings project. Pleistocene (paleolithic) cave art. Finger Flutings. Karake Style.

LMRAA, AHCBS.

Aslin, G.D., Bednarik, E.K. and Bednarik, R.G., 1985 (May). “The ‘Parietal Markings Project’—A Progress Report” in Rock Art Research 2(1): 71–74, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Mt. Gambier region, southern South Australia. Pleistocene (paleolithic) cave art. Attempt made to distinguish natural from man-made markings.

LMRAA, AHCBS.

Aspes, Alessandra and Lanzinger, Michele, eds., 2005. Pitture Paleolitiche nelle Prealpi Venete: Grotta di Fumane e Riparo Dalmeri, 192 pgs, Museo Civico di Storia Naturale di Verona and Museo Tridentino di Scienze Naturali, Verona, Italy.

Grotta di Fumane and Grotta Riparo Dalmeri, Pre-Alps, Italy. Europe. Paleolithic art.

Biblio.

Asquerino Fernández-Ridruejo, María Dolores, 1991. “Arte Paleolítico en la Provincia de Córdoba” in Crónica del XX Congreso Arqueológico Nacional 1989, Santander, 113–18, Universidad de Zaragoza, Seminario de Arqueología, ISBN: 84-600-7775-6.

Córdoba, Spain. Europe. Paleolithic art.

Dialnet.

Aubert, M., Brumm, A., Ramli, R., Sutkina, T., Sapromo, E.W., Hakim, B., Morwood, M.J., Van Den Berg, G.D., Kinsley, L. and A. Dosseto, 2014. “Pleistocene Cave Art from Sulawesi, Indonesia” in Nature 514: 223–27. doi:10.1038/nature134.

Sulawesi, Indonesia. Pleistocene (paleolithic) art.

Biblio, RASNWV.

Aubry, Thierry, 2002. “Le Contexte Archeologique de l’Art Paleolithique a l’Air Libre de la Vallee du Coa” in L’Art Paleolithique a l’Air Libre. Le Paysage Modifie par l’Image, Tautavel—Campome, 7–9 Octobre 1999, D. Sacchi, ed., 25–38, GAEP and GEOPRE, Carcassonne. ISBN: 2-9518735-0-6.

Europe. Paleolithic. Open air art sites. Archaeological context.

RASNW3, Biblio.

Aubry, Thierry, 2006. “Vallée du Côa: Un Art Préhistorique Unique” in Archéologia (436): 62–71, Editions Faton, Paris, France. ISSN: 0570-6270.

Coa Valley, Portugal. Europe. Paleolithic art.

Refdoc.fr, RASNW4.

Aubry, Thierry, 2009. “Recouvrement Stratigraphique et Datation de l’Art Gravée de la Vallée du Côa” in 200 Séculos da História do Vale do Coa: Incursões na Vida Quotidiana Dos Caçadores-Artistas do Paleolítico, T. Aubry, ed. Trabalhos de Arqueologia, Vol. 52: 361–72, Inst. Português de Arqueologia, Lisbon, Portugal. ISSN: O871-2581 ISBN: 978-989-8052-14-8.

Vale do Coa, Portugal. Europe. Paleolithic art. Archaeological context. Dating.

Biblio.

Aubry, T., ed., 2009. 200 Séculos da História do Vale do Coa: Incursões na Vida Quotidiana Dos Caçadores-Artistas do Paleolítico Trabalhos de Arqueologia, Vol. 52, 511 pgs, Inst. Português de Arqueologia, Lisbon, Portugal. ISSN: 0871-2581 ISBN: 978-989-8052-14-8.

Vale do Coa, Portugal. Europe. Paleolithic art.

Abstract: “More than a century after the revelation of the Altamira frescoes, the discovery of open air engravings in the rocky slopes of the Côa Valley made it possible for both scientists and the general public to become fully aware of the diverse nature of the artistic manifestations of the Palaeolithic and of one of the earliest instances of the monumentalisation of a natural space. The amazing preservation of these representations, left by humans of the Last Glacial, raises many questions. When were they made? How were they perceived by the successive generations of hunter-gatherers that roamed through this territory? What do we really know about the daily life of their makers and the culture that underlay the development of such a graphic communication device? How did they interact with the other human groups living in Iberia at that time? In an attempt to open wider windows into this past, 25 Portuguese, French, Spanish and Swiss researchers took on the challenge and seized the scientific opportunity created by the decision to preserve the Côa engravings in situ. The data they assembled and the conclusions they were able to reach are presented here.”

Biblio.

Aubry, T., Chauviere, F.-X., Mangado Llach, X. and Sampaio, J.D., 2003. “Constitution, Territories d’Approvisionnement et Fonction des Sites du Paleolithique Superieur de la Basse Vallee du Coa (Portugal)” in Perceived Landscapes and Built Environments: The Cultural Geography of Late Paleolithic Eurasia, S.A. Vasil’ev, O. Soffer and J. Koslowski, eds. British Archaeological Reports (BAR) International Series, (1122): 83–92, Archaeopress, Oxford, England.

Coa Valley, Portugal. Europe. Upper Paleolithic.

Biblio.

Aubry, T., Mangado LLach, X., Sampaio, J.D. and Sellami, F., 2002. “Open-Air Rock-Art and Modes of Exploitation during the Upper Paleolithic in the Côa Valley (Portugal)” in Antiquity 76: 62–76, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

Coa Valley, Portugal. Europe. Paleolithic. Open air rock art sites.

Abstract: “A study of the differential preservation of the famous Côa engravings, in the light of the site of Fariseu, place the distribution of the art in a chronological setting, which is in turn placed within the context of lithic raw material procurement. A study of the differential preservation of the famous Côa engravings, in the light of the site of Fariseu, place the distribution of the art in a chronological setting, which is in turn placed within the context of lithic raw material procurement.”

Internet, Biblio, Refdoc.fr.

Aubry, Thierry and Sampaio, Jorge Davide, 2008. “Fariseu: New Chronological Evidence for Open-Air Palaeolithic Art in the Côa Valley (Portugal)” in Antiquity, Project Gallery 82(316), Antiquity Publications.

http://antiquity.ac.uk/ProjGall/aubry/index.html (accessed on 14 October 2009).

Fariseu, Coa Valley, Portugal. Europe. Archaeological excavation at an open air rock art site. Paleolithic art.

Internet.

Aubry, Thierry, Santos, Andre Tomas and Luis, Luis, 2014. “Stratigraphies du Panneau 1 de Fariseu: Analyse Structurelle d’un Système Graphique Paléolithique à l’Air Libre de la vallée du Côa (Portugal)” in Les Arts de la Préhistoire: Micro-Analyses, Mises en Contextes et Conservation. Actes du Colloque « Micro-Analyses et Datations de l’Art Préhistorique dans son Contexte Archéologique », MADAPCA—Paris, 16-18 Novembre 2011 Paléo, Revue d’Archéologie Préhistorique, Numero Especial, Vol. 25(Extra 2014):259–270, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

https://www.academia.edu/7705261/Stratigraphies_du_panneau_1_de_Fariseu_analyse_structurelle_dun_systeme_graphique_paleolithique_a_lair_libre_de_la_vallee_du_Coa_Portugal_ (accessed on 19 July 2014).

Fariseu, Coa Valley, Portugal. Europe. Paleolithic art. Stratigraphic analysis. Superposition.

Academia.edu, Biblio, Internet.

Aujoulat, Norbert, 1984. “Grotte de la Foret” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 239–41, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

La Foret, between the village of Mousteir and Tursac, Aquitaine, Dordogne, Tursac, France. Europe. Paleolithic cave art. Reindeer, horse motif(s).

UVAP, LMRAA.

Aujoulat, Norbert, 1984. “Grotte de la Mairie” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 232–35, Ministere de la Culture:

Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

La Mairie, Aquitaine, Teyjat, Dordogne, France. Europe. Paleolithic cave art. Deer, horse, bear, bison, bovid motif(s).

UVAP, LMRAA.

Aujoulat, Norbert, 1984. “Le Fourneau du Diable” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 89–91, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Fourneau du Diable, Aquitaine, Dordogne, Bourdeilles, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, 1984. “Grotte de la Calevie” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 106–8, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de la Calevie, Petite Beune, Les Eyzies-de-Tayac-Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, 1984. “Grotte des Combarelles I” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 109–13, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte des Combarelles I, Dordogne, Aquitaine, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, 1984. “Grotte des Combarelles II” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 114–18, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte des Combarelles I, Aquitaine, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, 1984. “Grotte de La Greze” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 164–66, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de La Greze, Aquitaine, Dordogne, Marquay, France. Europe. Paleolithic cave art. Bison motif(s).

LMRAA.

Aujoulat, Norbert, 1984. “Grotte de Jovelle” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 236–38, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Jovelle, Aquitaine, Dordogne, La Tour-Blanche, France. Europe. Paleolithic cave art. Ibex, mammoth, horse motif(s).

LMRAA.

Aujoulat, Norbert, 1984. “Grotte du Roc de Vezac” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 242–44, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Roc de Vezac, Acquitaine, Dordogne, France. Europe. Paleolithic cave art. Negative hand print, reniforme (leaf-like) motif(s).

LMRAA.

Aujoulat, Norbert, 1984. “Grotte de la Sudrie” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 245–47, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de la Sudrie, Aquitaine, Dordogne Villac, France. Europe. Paleolithic cave art. Cervid (deer) motif(s).

LMRAA.

Aujoulat, Norbert, 1984. “Grotte de Mitrot” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 254–55, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Mitrot, Aquitaine, Gironde, Lugasson, France. Europe. Paleolithic cave art. Abstract lines motif(s).

LMRAA.

Aujoulat, N., 1984. “Grotte de Beyssac” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 73–74, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Beyssac, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N., 1984. “Grotte de Beyssac II” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 74, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Beyssac II, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N., 1984. “Grotte des Girouteaux” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 75–76, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Girouteaux, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N., 1984. “Grotte de Peyreblanque” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 76–77, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Peyreblanque, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N., 1984. “Le Rouillet” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 77, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Le Rouillet, Dordogne, Les Eyzies-de-Tayac, Sireuil. Europe. Paleolithic cave art. Natural wear marks from erosion.

LMRAA.

Aujoulat, N., 1989. “Optimisation des Methodes de Releve” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 145-155, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Europe. Prehistoric art. Paleolithic art. Documentation. Photographic technique.

LMRAA.

Aujoulat, Norbert, 1990. “Lascaux et son Image” in Lascaux Premier Chef d’Oeuvre de l’Humanite Les Dossiers d’Archeologie (152): 4–9, Editions Faton, Dijon, France. ISSN: 1141-7137.

Lascaux, Montignac, Dordogne, Perigord, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Reproduction. Facsimile.

LMRAA.

Aujoulat, Norbert, 1990. “L’Espace Suggere” in Lascaux Premier Chef d’Oeuvre de l’Humanite Les Dossiers d’Archeologie (152): 12–23, Editions Faton, Dijon, France. ISSN: 1141-7137.

Lascaux, Montignac, Dordogne, Perigord, France. Europe. Paleolithic art. Artists use of space. Perspective. Rock feature incorporation.

LMRAA.

Aujoulat, Norbert, 1993. “Les Equidés” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 97–108, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Equid (horse) figure motif(s).

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “La Perspective” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 281–88, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Perspective.

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “L’Evolution des Techniques” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 317–27, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Techniques and methods.

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “Les Projections” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 339–42, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Projections.

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “L’Outil Photographique” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 347–54, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Documentation. Photography.

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “Les Fac-similés” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 379–80, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Altamira, Spain. Lascaux II, France. Europe. Paleolithic cave art. Facsimile (reproduction). Education.

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “Le Vidéodisque” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 381–82, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Video disk (digital). Education.

Biblio, LMRAA.

Aujoulat, Norbert, 1993. “Archivage et Conservation des Documents” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 383–85, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Cultural resource management. Conservation and preservation. Archival records (storage).

Biblio, LMRAA.

Aujoulat, Norbert, 1995. “La Grotte Ornée de Puymartin (Marquay, Dordogne): Note Préliminaire” in Paléo, Revue d’Archéologie Préhistorique 7: 251–53, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1995_num_7_1_1217 (accessed on 18 November 2011).

Puymartin, Marquay, Dordogne, France. Europe. Paleolithic art. Bas relief. Equid, horse motif(s).

Persee.

Aujoulat, Norbert, 1996. “New Decorated Cave in the Dordogne, La Grotte Cazelle (Les Eyzies-de-Tayac, Dordogne)” in International Newsletter on Rock Art (13): 10–12, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora13/inora-13.pdf (accessed on 22 April 2017).

LA GROTTE DE CAZELLE, LES EYZIES-DE-TAYAC, DORDOGNE, FRANCE. EUROPE. NEWLY DISCOVERED CAVE. FEMALE SEXUALITY (PUBIC TRIANGLE WITH THE MIDDLE GROOVE) MOTIF(S). UPPER PALEOLITHIC.

LMRAA.

Aujoulat, N., 2004. Lascaux. Le Geste, l’Espace et le Temps, 274 pgs, Le Seuil, Paris, France.

Lascaux, Dordogne, France. Europe. Paleolithic art.

Biblio.

Aujoulat, Norbert, 2005. Lascaux. Movement, Space and Time, 274 pgs, Harry N. Abrams, New York, New York.

Lascaux, Dordogne, France. Europe. Paleolithic art. The underground environment. Access to the cave. Cave architecture. Description of the art. Construction of the images. Gesture, space, and time.

LMRAA.

Aujoulat, Norbert, 2007 (November–December). “Découvertes d’Art Pariétal en Périgord” in Les Grottes Ornées en France Les Dossiers de Archéologie (324): 4–9, Editions Faton, Dijon, France. ISSN: 1141-7137.

Perigord, France, Europe. Paleolithic art.

Abstract: “Le Périgord est une des régions les plus riches en sites ornés préhistoriques: plusieurs dizaines ont été répertoriés, dont Lascaux, soit près du tiers de l’ensemble du patrimoine français. Ils recouvrent tout le Paléolithique supérieur, de l’Aurignacien ancien à la fin du Magdalénien, soit 23 000 ans d’art pariétal. Ces cavités, gravées, peintes ou sculptées, permettent d’esquisser une évocation des rituels pratiqués par ces hommes de la Préhistoire, et, au-delà de percevoir leurs conceptions du monde. Les dernières occupations du milieu souterrain, appartiennent à une période plus récente, celle du Bronze. Dans cette composante à connotation sacrée, la grotte des Fraux reste un ultime et exceptionnel témoignage.”

internet.

Aujoulat, N., Baffier, D., Feruglio, V., Fritz, C. and Tosello, G., 2001. “Les Techniques de l’Art Parietal” in La Grotte Chauvet. L’Art des Origines 152–60, Editions du Seuil, Paris, France. ISBN-10: 2020486482 ISBN-13: 978-2020486484.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave painting.

LMRAA, Biblio.

Aujoulat, Norbert Cleyet-Merle, Jean-Jacques, Gaussen, Jean, Tisnerat, Nadine and Valladas, Hélène., 1998. “Approche Chronologique de Quelques Sites Ornés Paléolithiques du Périgord par Datation Carbone 14, en Spectrométrie de Masse par Accélérateur, de leur Mobilier Archéologique” in Paléo, Revue d’Archéologie Préhistorique 10: 319–23, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1998_num_10_1_1144# (accessed on 19 November 2011).

Gabillou, Jamblancs, Lascaux, Perigord, France. Europe. Paleolithic art. Chronology. Direct dating of associatied artifacts in decorated caves.

Abstract: “Chronological approach to a few decorated Paleolithic sites in the Perigord based on C14 dating of associated archaeological objects. Several radiocarbon dates of archaeological sites with parietal art in Périgord (Gabillou, Jamblancs, Lascaux) recently obtained, ranging from 17180 to 18600 BP, strengthen their chronological attribution to the Late Solutrean and the Early Magdalénien.”

Persee, Biblio.

Aujoulat, Norbert and Dauriac, N., 1984. “Grotte de Bara-Bahau” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 92–95, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Bara-Bahau, Aquitaine, Dordogne, Le Bugue, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N., Feruglio, V., Fourment, N. et al., 2013. “Le Sanctuaire Gravettien de Cussac (Le Buisson-de-Cadouin, Dordogne, France): Premierts Resulats d’un Projet Collectif de Recherche” in International Newsletter on Rock Art (65): 7–19, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/images/Inora_65_2013_1._Ensemble.pdf (accessed on 22 April 2017).

Cussac, Le Buisson-de-Cadouin, Dordogne, France. Europe. Gravettien. Paleolithic art.

Biblio.

Aujoulat, N., Fritz, C., and Tosello, G. 2001. “La Galerie des Panneaux Rouges. Le Panneau des Mains Positives” in La Grotte Chauvet. L’Art des Origines, 77–86, Editions du Seuil, Paris, France. ISBN-10: 2020486482 ISBN-13: 978-2020486484.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave painting. Positive hand print motif(s).

LMRAA, Biblio.

Aujoulat, N. and Gely, B., 2001. “La Salle Hillaire, Autour du Grand Effondrement” in La Grotte Chauvet. L’Art des Origines, 88–95, Editions du Seuil, Paris, France. ISBN-10: 2020486482 ISBN-13: 978-2020486484.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave painting.

LMRAA, Biblio.

Aujoulat, Norbert and Geneste, J.M., 1984. “Grotte de La Mouthe” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 144–47, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de La Mouthe, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, Geneste, Jean-Michel, Archambeau, Christian, Barraud, Dany, Delluc, Marc, Duday, Henri and Gambier, Dominique, 2001. “The Decorated Cave of Cussac” in International Newsletter on Rock Art (30): 3–9, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora30/inora-30.pdf (accessed on 22 April 2017).

Cussac, Buisson-de-Cadouin, Dordogne, France. Europe. Portable art, petroglyphs and prehistoric human remains discovered in a cave setting. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, Geneste, Jean-Michel, Archambeau, Christian and Delluc, Marc, 2001. “La Grotte Ornee de Cussac” in Bulletin de la Societe Historique et Archeologique du Perigord 128: 543–552, Comite International d’Art Rupestre, Foix, France. ISSN 1022-3282.

Cussac, Buisson-de-Cadouin, Dordogne, France. Europe. Portable art, petroglyphs and prehistoric human remains discovered in a cave setting. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert, Geneste, Jean-Michel, Archambeau, Christian, Delluc, Marc, Duday, Henri and Gambier, Dominique, 2001. “La Grotte Ornée de Cussac (Dordogne). Observations Liminaires” in Paléo, Revue d’Archéologie Préhistorique 13: 9–17, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://paleo.revues.org/index919.html (accessed on 4 December 2012).

Cussac, Le-Buisson-de-Cadouin, Dordogne, France. Europe. Paleolithic art. Gravettian.

Abstract: “In September 23, 2000, during a speleological exploration inside the cave of Cussac, Marc Delluc discovered a remarkable entity of parietal engraved figures. The analogy of depicted animals and of female representations studied long before in Pech-Merle cave allows to date these images to the Gravettian, earlier period of the Upper Palaeolithic. Yet, the exceptional originality of this site consists in the presence of numerous human bones counting at least five individuals, with a location similar to the engravings. The radiocarbon dating of a bone fragment gives: 25 120±120 years and confirms the chronological comparing of both archealogical elements.”

RASNW3, Internet.

Aujoulat, Norbert, Geneste, Jean-Michel, Archambeau, Christian, Delluc, Marc, Duday, Henry and Gambier, Dominique, 2004. “La Grotte Ornée de Cussac Le Buisson-de-Cadouin (Dordogne)” in L’Art du Paléolithique Supérieur. Actes des Colloques 8.2 et 8.3, XIVe Congrès de l’UISPP, Liège (2–8 Septembre 2001), M. Lejeune and A.-C. Welte, eds. Etudes et Recherches Archeologigues de l’Universite de Liege, ERAUL 107, Éditions Eraul, Universite de Liege, Liege, Belgium.

Cussac Le Buisson-de-Cadouin, Dordogne, France. Europe. Paleolithic art.

Internet

Aujoulat, N. and Perazio, G., 2005. “Contribution de la Saisie Tridemensionnelle a l’Etude de l’Art Parietal et de son Contexte Physique” in La Grotte Chauvet à Vallon-Pont-d’Arc: Un Bilan des Recherches Pluridisciplinaires Actes de la Séance de la Société Préhistorique Française, 11 et 12 Octobre 2003, Lyon Bulletin de la Société Préhistorique Française 102(1): 189–97, Société Préhistorique Française, Paris, France. eISSN: 1760-7361 ISBN: 2-913745-21-0.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_2005_num_102_1_13351 (accessed on 5 October 2011).

Chauvet Cave, Vallon-Pont-d’Arc, Ardeche France. Europe. Paleolithic cave painting.

Abstract: “Any analysis of painted, drawn or engraved marks in prehistoric caves and shelters is materialised, among other things, by a graphic rendering of the motifs observed, i.e., a recording or survey. Methods used for this activity evolve continuously, not only for reasons motivated by research but also due to the appearance of ever-more effective recording materials and equipment. At present, the abandoning of methods of transferring data on to a transparent support and their replacement by photography implies a much stricter taking into consideration of the morphology of cavity walls in order to present the survey’s metrical characteristics. In view of this, we had developed specific equipment based on the principal of luminous profiles while, over the past ten years, 3D laser sensors have appeared which are capable of generating very high resolution digital terrain models.”

Biblio, Persee.

Aujoulat, N. and Roussot, A., 1984. “Abri Crolus” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 74, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Abri Crolus, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N. and Roussot, A., 1984. “Abri Delluc” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 74–75, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Abri Delluc, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N. and Roussot, A., 1984. “Abri Demelle” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 75, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Abri Demelle, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N. and Roussot, A., 1984. “Abri Fournier” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 75, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Abri Fournier, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N. and Roussot, A., 1984. “Grotte du Pillier” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 77, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte du Pillier, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N. and Roussot, A., 1984. “Grotte du Pech-Saint-Sour” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 76, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte du Pech-Saint-Sour, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, N. and Roussot, A., 1984. “Grotte Rey” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 77, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Rey, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

LMRAA.

Aujoulat, Norbert et al., 2002. “La Grotte Ornee de Cussac—Le Buisson-de-Cadouin (Dordogne): Premieres Observations” in Bulletin de la Société Préhistorique Française 99(1): 129–37, Société Préhistorique Française, eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_2002_num_99_1_12612 (accessed on 5 October 2011).

Cussac - Le Buisson-de-Cadouin, Dordogne, France. Europe. Paleolithic art.

RASNW3, Persee.

Aurière, Lise, 2010–2011. “Réflexions Autour des Choix Technologiques dans l’Art Mobilier Paléolithique en Matières Osseuses: Premières données des Sites Magdaléniens de Plantade, Lafaye, Courbet et Montastruc (Vallée de l’Aveyron)” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, Vol. 65–66: 258–59, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Plantade, Lafaye, Courbet and Montastruc, Vallée de l’Aveyron, France. Europe. Paleolithic. Magdalenian. Mobiliary (portable) art. Technology in bone.

Dialnet.

Auriere, L., Chauviere, F.-X., Plassard, F., Fritz, C. and Dachary, M., 2013. “Art Mobilier Inedit du Gisement de Bourrouilla a Arancou (Pyrenees-Atlantiques, France): Donnees Techno-Stylistiques et Chrono-Culturelles” in Paléo, Revue d’Archéologie Préhistorique 24: 195–218, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

https://paleo.revues.org/2456 (accessed on 28 April 2017).

Bourrouilla to Arancou, Pyrenees-Atlantiques, France, Europe. Paleolithic art. Mobiliary (portable) art.

UVAP.

Aurvaux, Jean, 2002. “Le Chaffaud, 168 Ans Apres.” in Bulletin Préhistoire du Sud-Ouest 9(1), Association Prehistoire du Sud-Ouest, Carcassonne, France. ISSN: 1268-7944.

Le Puits, Chaffaud, Vienne, France. Europe. Paleolithic art.

Abstract: “The cave of le Puits in Chaffaud, (Vienne, France), although celebrated in the whole world for having revealed the existence of Palaeolithic art remained, from the point of view of its stratigraphy, completely unknown. In this article, the author proposes on the one hand, a test of stratigraphic reconstitution on the basis of its own excavation, and, on the other hand, an overall picture on the art of Chaffaud and on its place in the regional context, with a presentation of unpublished engravings and paintings. The first part is devoted to a small close cavity, the intermediate cave, which belongs to the complex of the caves of le Chaffaud and which delivered works of art far from known.”

Internet.

Auzanne, I. and Fuentes, O., 2003. “Le “Sorcier” du Roc-au-Sorciers au Angles-sur-l’Anglin (Vienne, France): Nouveaux Elements d’Analyse” in Antiquities Nationales 35: 41–54.

Roc-au-Sorciers au Angles-sur-l’Anglin, Vienne, France. Europe. Paleolithic art. Sorcerer motif(s).

Biblio.

Aynie-Clastres, G., 1970. “Nouvelles Decouvertes dans la Caverne de Niaux: 1e Reseau Rene Clastres” in Bulletin de la Societe Prehistorique de l’Ariege 25: 141–43, Societe Prehistorique de l’Ariege, Tarascon-sur-Ariege, France.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art.

UVAP.

Azéma, M., 1992. “La Représentation du Mouvement dans l’Art Animalier Paléolithique des Pyrénées” in Bulletin de la Société Préhistorique Ariège-Pyrénées 47: 19–76, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Pyrenees, France. Europe. Paleolithic art. Animal motif(s). Movement.

CREAP.

Azéma, M., 1992. “La Décomposition du Mouvement dans l’Art Animalier Paléolithique des Pyrénées” in Préhistoire Anthropologie Méditerranéennes 1: 17–31, Laboratoire d’Anthropologie et de Prehistoire des Pays de la Mediterranee Occidentale, Universite de Provence, Aix-en-Provence, France. ISSN: 1167-492X.

Pyrenees, France. Europe. Paleolithic art. Animal motif(s). Movement.

CREAP.

Azéma, Marc, 2003. La Représentation du Mouvement dans l’Art Pariétal Français. Approche Ethologique du Bestiaire Thèse de Doctorat, 3 vols. Université de Provence, Aix-Marseille I, France.

France. Europe. Paleolithic art. Animal motif(s). Movement.

CREAP, APGODQ.

Azéma, Marc, 2004. “La Décomposition du Mouvement dans l’ Art Pariétal: et si. les hommes Préhistoriques Avaient Inventé le Dessin Animé et la Bande Dessinée” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 59: 55–69, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Animation. Movement.

RASNW3, DialNet.

Azéma, Marc, 2005. “Breaking Down Movement in Paleolithic Art” in International Newsletter on Rock Art (43): 14–21, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Europe. Paleolithic art. Depictions of movement by techniques of superimposition and juxtaposition.

LMRAA.

Azéma, Marc, 2006. “La Représentation du Mouvement au Paléolithique Supérieur. Apport du Comparatisme Ethographique à l’Interprétation de l’Art Pariétal” in Bulletin de la Société Préhistorique Française 103(3): 479–505, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_2006_num_103_3_13468 (accessed on 4 October 2011).

Europe. Paleolithic art. Animation. Movement. Animal motif(s).

Abstract: “The first figures of humanity are basically reproductions of animals. This study (a thesis which is limited to France and parietal art) analyses the animated figures that might, in part, by means of ethology, shed light on the motivation of the Upper Palaeolithic hunter-artists. The ethological approach provides essential tools for the study and comprehension of parietal art. The representation of movement plays a role in the significance of prehistoric art. Behavioural topics and their combinations within the assemblies probably constituted the terms of an early «grammar», heralding the first pictograms. Hunting and the fertility of animals probably held a choice place within it.”

Persee, RSNW4.

Azéma, Marc, 2007. “Split-Fram (sic) Movement in Palaeolithic Art: A Reply to Juan-Maria Apellaniz” in International Newsletter on Rock Art (48): 23–29, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

France. Europe. Paleolithic art. Split - frame movement motif(s). See Apellaniz 2006 INORA no. 46.

LMRAA.

Azema, Marc, 2008. “Representation of Movement in the Upper Palaeolithic: An Ethological Approach to the Interpretation of Parietal Art” in Anthropozoologica 43(1): 117–54, Muséum National d’Histoire Naturelle, Publications Scientifiques, ISSN: 0761-3032.

France. Europe. Paleolithic art. Animal motif(s). Movement. Animation.

Abstract: “The oldest known figures produced by humans are essentially reproductions of animals. As part of this research (thesis) limited to France and wall art, it seemed appropriate to analyze and interpret, through ethology, the animated figures because they can provide insight into Part of the motivation of artists Upper Paleolithic hunters. The ethological approach indeed provides essential tools to approach the study and understanding of rock art. The representation of movement contributes to the significance of this original art. Behavioral themes recognized and their combinations within assemblages were probably under a harbinger of the first faltering grammar symbols. Hunting and fertility game there probably held a prominent place.”

Refdoc.fr.

Azéma, Marc, 2009. L’Art des Cavernes en Action: Les Animaux Modèles. Aspect, Locomotion, Comportement, Vol. 1: 224 pgs, Editions Errance, ISBN-10: 2877723992 ISBN-13: 978-2877723992.

France. Paleolithic art. Animal motif(s). Movement.

CREAP, LMRAA.

Azéma, M. and Clottes, J., 2008. “Traces of Finger Marks and Drawings in the Chauvet Cave (Salle du Fond)” in International Newsletter on Rock Art (52): 1–5, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.international.icomos.org/centre_documentation/inora/inora52/Inora%2052,%202008,%20p.%201-5.pdf (accessed on 4 October 2012).

Salle du Fond, Chauvet Cave, Ardeche, France. Europe. Paleolithic art. Finger markings.

LMRAA.

Azéma, Marc and Clottes, Jean, 2008. “Chauvet—Type Signs” in International Newsletter on Rock Art (50): 2–7, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.international.icomos.org/centre_documentation/inora/inora50/inora-50-1.pdf (accessed on 4 October 2012).

Chauvet Cave, Ardeche, France. Europe. Paleolithic art. “Double U”, “W” sign motif(s), similar to the shape of mammoth tusks.

LMRAA.

Azema, Jacques and Cuennet, Myriam, 2012. “Nouvelle Proposition de Lecture d’une Figure de la Grotte du Pech-Merle” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 67: 127–32, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

http://gallica.bnf.fr/ark:/12148/bpt6k96307616/f7.image (accessed on 23 July 2017).

Pech-Merle, Lot, France. Europe. Paleolithic art.

Dialnet.

Azema, Jacques, and Demoulin, Emmanuel, 2012. “Nouvelle Proposition de Lecture d’une Figure de la Grotte de Niaux” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 67: 5–14, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

http://gallica.bnf.fr/ark:/12148/bpt6k96307616/f7.image (accessed on 23 July 2017).

Niaux, Midi-Pyrenees, France. Europe. Paleolithic art.

Dialnet.

Azéma, Marc, Gély, Bernard, Bourrillon, Raphaëlle and Lhomme, David, 2010–2011. “La Grotte Ornée Paléolithique de Baume Latrone (France, Gard): La 3D Remonte le Temps..” in Symposium 7. Application des Techniques “Forensiques” aux Recherches sur l’Art Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 65–66: 214–15, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Baume Latrone, Gard, France. Europe. Paleolithic art. 3D photogrammetry. Cultural resource management. Conservation and preservation.

Abstract: “Depuis 2009, la reprise de l’étude de la grotte de Baume Latrone (France, Gard), dirigée par Marc Azéma, porte principalement sur le relevé de ses étonnantes images pariétales, dessinées à l’argile ou gravées sur le calcaire, en combinant les techniques traditionnelles et la numérisation tridimensionnelle. À terme, cette association technologique permet d¿introduire une quatrième dimension dans le modèle numérique de terrain en confrontant plusieurs états chronologiques de la paroi vandalisée puis nettoyée durant les années 1980 et voyager ainsi dans le temps.”

Dialnet.

Azema, M., Gely, B., Bourrillon, R. et al., 2012. “La Grotte Ornee Palolithique de Baume Latrone, (France, Gard): La 3D Remonte le Temps.” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV–LXVI: Book: 214–15, CD: 1221-1238, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

http://www.creap.fr/pdfs/Azema_et_al-IFRAO2010.pdf (accessed on 27 November 2012).

Baume Latrone, Gard, France. Europe. Paleolithic art. 3D.

Abstract: “Depuis 2009, la reprise de l’étude de la grotte de Baume-Latrone (France, Gard), dirigée par Marc Azéma, porte principalement sur le relevé de ses étonnantes images pariétales, dessinées à l’argile ou gravées sur le calcaire, en combinant les techniques traditionnelles et la numérisation tridimensionnelle. À terme, cette association technologique permet d’introduire une quatrième dimension dans le modèle numérique de terrain en confrontant plusieurs états chronologiques de la paroi vandalisée puis nettoyée durant les années 1980 et voyager ainsi dans le temps…”

Biblio, LMRAA, Academia.edu.

Azema, M., Gely, B., Bourrillon, R. et al., 2012. “L’Art Paleolithic de La Baume Latrone (France, Gard): Nouveaux Elements de Datation” in International Newsletter on Rock Art (64): 6–12, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/images/Inora_64_2012_1._Ensemble.pdf (accessed on 22 April 2017).

Baume Latrone, Gard, France. Southwest Europe. Direct dating. Paleolithic art.

Biblio, Internet, CREAP, Academia.edu.

Azema, Marc, Gely, Bernard, Bourrillon, Raphaëlle, Blasco, Josep, Fernandez, Javier, Cotino, Fernando, Lhomme, David and Lerma, Jose Luis, 2014. “Restitution 3D d’une Grotte Ornee: La Grotte de la Baume-Latrone” in Les Dossiers de Archéologie (361): 26–29, Editions Faton, Dijon, France. ISSN: 1141-7137.

https://www.academia.edu/5794875/AZEMA_M._BOURRILLON_R._LHOMME_D._GELY_B._BLASCO_J._FERNANDEZ_J._COTINO_F._LERMA_J._L._2014._Restitution_3D_dune_grotte_ornee_la_grotte_de_la_Baume-Latrone (accessed on 20 April 2014).

Baume-Latrone, France. Europe. Documentation. 3D reconstruction. Paleolithic art.

Academia.edu

Azéma, Marc, Gély, Bernard, Prudhomme, Françoise and ATM 3D Société ATM3D, 2010. “Relevé 3D de Gravures Fines Paléolithiques dans l’Abri du Colombier (Gorges de l’Ardèche)” in In Situ: Revue de Patrimoines vol. 13, ISSN: 16307305.

Abri du Colombier, Gorges de l’Ardèche, France. Europe. Documentation. 3D digital recording. Museum exposition. Paleolithic art.

Internet.

Azéma, Marc and Rivère, Florent, 2010–2011. “L’Animation dans l’Art Paléolithique. Observations Récentes” in Symposium 1: L’Art Pléistocène dans le Monde Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 65–66: 34–35, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Animation.

Abstract: “Spectaculaires ou discrets, ces mouvements exprimaient des comportements précis dont l’association au sein des dispositifs graphiques, sur les parois et les objets, témoigne de l’existence d’une forme originelle de narration graphique. Les hommes préhistoriques ont aussi conceptualisé l’animation séquentielle et finalement…le cinématographe. Mieux encore, l’observation récente d’objets d’art mobilier magdalénien, couplée à l’expérimentation, semble démontrer l’existence d’un véritable jouet optique, d’un thaumatrope paléolithique préfigurant le concept de caméra!”

Dialnet.

Azema, M. and Riviere, F., 2012. “L’Animation dans l’Art Paleolithique: Obsevations Recentes” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, Sept. 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 34–35, CD: 57–73, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Europe. Paleolithic art. Animation. Movement.

Biblio, LMRAA.

Bader, O., 1966. “Pitture Rupestri Paleolitiche negli Urali” in Rivista di Scienze Preistoriche 21(2): 365–78, Istituto Italiano di Preistoria e Protostoria, Firenze, Italy. ISSN: 0035-6514.

Ural Mountains, Russia, central Siberia. North Asia. Paleolithic art.

Dialnet.

Baena Preysler, Javier and Carrión Santafé, Elena, 2006. “Contexto Geográfico: Un Marco para el Desarrollo del Paleolítico Superior de Madrid” in Dibujos en la Roca: El Arte Rupestre en la Comunidad de Madrid Arqueología, Paleontología y Etnografía 11: 43–55, Comunidad de Madrid: Consejería de Cultura, ISSN: 1131-6241.

Madrid, Spain. Europe. Paleolithic art.

Dialnet.

Baffier, D., 1984. “Les Characteres Sexuels Secondaires des Mammiferes dans l’Art Parietal Paleolithique Franco-Cantabrique” in La Contribution de la Zoologie et de l’Ethologie a Interpretation de l’Art des Peuples Chasseurs Prehistoriques, Actes du 3e Colloque International de la Societe Suisse des Sciences Humaines, Sigriswill, 1979 H.-G. Bandi, W. Huber, M.-R. Sauter and B. Sitter, eds., 143–54, Editions Universitaires, Fribourg, Germany. ISBN-10: 2827102714 ISBN-13: 978-2827102716.

France. Spain. Europe. Paleolithic cave painting. Sexual characteristics.

Biblio.

Baffier, D., 1990. “Lecture Technologique des Representations Paleolithiques Liees a la Chasse et au Gibier” in Paléo, Revue d’Archéologie Préhistorique 2: 177–89, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

Europe. Paleolithic art. Hunting scene, game motif(s).

Biblio.

Baffier, D., 1992. “L’Art du Paléolithique Supérieur Européen” in La Préhistoire Dans Le Monde, J. Garanger, ed., 456–495, P.U.F., Paris, France.

Europe. Paleolithic art.

Biblio.

Baffier, Dominique, 2004. “Le Premier Art Paleolithique. Mammouths et Rhinoceros” in Les Mammouths Les Dossiers d’Archeologie (291): 82–87, Editions Faton, Dijon, France. ISSN: 1141-7137.

Chauvet Cave, Arcy-sur-Cure Cave, France. Europe. Paleolithic art. Mammoth and rhinoceros motif(s).

LMRAA.

Baffier, D., 2005. “La Grotte Chauvet: Conservation d’un Patrimoine” in La Grotte Chauvet à Vallon-Pont-d’Arc: Un Bilan des Recherches Pluridisciplinaires Actes de la Séance de la Société Préhistorique Française, 11 et 12 Octobre 2003, Lyon Bulletin de la Société Préhistorique Française 102(1): 11–16, Société Préhistorique Française, Paris, France. eISSN: 1760-7361 ISBN: 2-913745-21-0.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_2005_num_102_1_13332 (accessed on 5 October 2011).

Chauvet Cave, Vallon-Pont-d’Arc, Ardeche, France. Europe. Paleolithic cave painting. Cultural resource management. Conservation and preservation.

Abstract: “From the moment of its discovery exceptional protective measures were taken for the Chauvet-Pont-d’Arc cave. Recognised as the earliest of the Palaeolithic decorated caves, it has surprised the scientific community and the world as a whole by the perfection of its parietal art, the abundance of itsfaunal remains and the beauty of its rock formations. The closure of the cave and the installations in it were dictated by the desire to preserve this fragile gem of mankind’s heritage. It is under permanent surveillance, both from a pollution and climatological point of view and for its security. Having remained intact for 20 000 years, it contains a unique potential for research which must be preserved for both present and future scholars.”

Biblio, Persee.

Baffier, Dominique and Girard, Michel, 1992. “Discovery of Paleolithic Paintings in the Grande Grotte at Arcy-Sur-Cure (Yonne) France” in International Newsletter on Rock Art (2): 2–3, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora2/inora-2.pdf (accessed on 22 April 2017).

ARCY-SUR-CURE, YONNE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. IBEX, MAMMOTH, RHINOCEROS, HANDPRINTS, ABSTRACT SIGNS MOTIF(S).

LMRAA (PHOTO COPY).

Baffier, D. and Girard, M., 1992. “La Grande Grotte d’Arcy-sur-Cure (Yonne), Nouveau Santuaire Paleolithique. Resultats Preliminaires” in Revue Archeologique de l’Est et du Centre-Est 43(2): 195–205.

Arcy-sur-Cure, Yonne, France. Europe. Paleolithic art.

Biblio.

Baffier, D. and Girard, M., 1995. “La Grande Grotte d’Arcy-sur-Cure (Yonne). Second Sancturaire Paleolithique Bourguignon” in L’Anthropologie 100: 208–16, Masson, Paris, France. ISSN: 0003-5521.

Arcy-sur-Cure, Yonne, France. Europe. Paleolithic art.

UVAP.

Baffier, D. and Girard, M., 1995. “La Grotte du Cheval Revisitee. Raclages et Signes des Salles I & II” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique Ariège-Pyrénées 50: 35–56, Société Préhistorique de l’Ariège, ISSN: 0245-9523.

Grotte du Cheval, Arcy-sur-Cure, Yonne, France. Europe. Paleolithic art. Mammoth, abstract sign, line motif(s).

Internet.

Baffier, Dominique and Girard, Michel, 1998. Les Cavernes d’Arcy-sur-Cure, 120 pgs, La Maison des Roches, Paris, France. ISBN: 2912691028 / 2-912691-02-8.

Arcy-sur-Cure, Yonne, France. Europe. Paleolithic cave art. Two painted and engraved caves.

Biblio, Internet.

Baffier, Dominique and Girard, Michel, 1999. “Pictures of the Grande Grotte in Arcy-sur-Cure (Yonne, France): Studying Techniques” in News 95—International Rock Art Conference Proceedings, unpaginated, Centro Studi e Museo d’Arte Prehistorica, Pinerolo, Italy.

Grande Grotte in Arcy-sur-Cure, Yonne, France. Europe Paleolithic cave art.

Abstract: “The Grande Grotte at Arcy-sur-Cure has been ‘cleaned’ with acid and a pressurised water jet. This has substantially destroyed the rock art in the cave. This paper reports the recording techniques of an ongoing project that has led to the recovery of a remarkable number of images.”

LMRAA.

Baffier, Dominique and Girard, Michel, 2006. “La Grande Grotte d’Arcy-sur-Cure, Yonne. Bilan des Recherches” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques, 94–97, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

Arcy-sur-Cure, Yonne, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

Internet, Biblio.

Baffier, Dominique and Girard, Michel, 2007 (November–December). “La Grande Grotte d’Arcy-sur-Cure (Yonne)” in Les Grottes Ornées en France Les Dossiers de Archéologie (324): 74–85, Editions Faton, Dijon, France. ISSN: 1141-7137.

Grotte d’Arcy-sur-Cure, Yonne, France, Europe. Paleolithic art.

Abstract: “Situé dans le sud du département de l’Yonne, à une vingtaine de kilomètres des contreforts du Morvan granitique, le massif d’Arcy-sur-Cure est constitué par le dernier des promontoires découpés dans le plateau de calcaire jurassique par le cours sinueux de la Cure. Une vingtaine de cavités naturelles furent occupées par l’Homme et les animaux, au cours du Quaternaire. Grottes et porches furent fouillés dès le XIXe siècle puis, à partir de 1946, par A. Leroi-Gourhan et son équipe pendant près de 18 ans.”

internet, RASNW4.

Baffier, Dominique and Girard, Michel, 2013. “Identification d’un Artiste, d’un Groupe Ethnique, d’une Culture?: Exemple de la Frise Rouge de la Grande Grotte d’Arcy-sur-Cure (Yonne)” in F. Javier Fortea Perez, Universitatis Ovetensis Magister. Estudios en Homenaje, Marco de la Rasilla Vives, dir., 415–27, Universidad de Oviedo, Ediciones de la Universidad de Oviedo, Oviedo, Spain. ISBN: 978-84-8317-983-3 978-84-940141-3-0.

Frise Rouge, Grotte d’Arcy-sur-Cure, Yonne, France. Europe. Authorship. Ethnic group. Paleolithic art.

Baffier, D. and Girard, M., 2013. L’Art Parietal Gravettien du Nord de la France” in Les Gravettiens, M. Otte, ed. Civilisations et Cultures 215–34, Editions Errance, Paris-Arles, France. ISBN: 978 2 87772 509 5.

Northern France. Europe. Paleolithic art. Gravetttien.

Biblio.

Baffier, Dominique, Girard, Michel and Guillamet, Eudald, 2010. “Four Black - Painted Fish at the Grande Grotte of Arcy-Sur-Cure (Yonne)” in International Newsletter on Rock Art (56): 12–16, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/images/Doc_centre/PDF/INORA/Inora_56_2010_1_small.pdf (accessed on 22 April 2017).

Grotte Arcy-sur-Cure, Yonne, France. Europe. Upper Paleolithic art. Fish motif(s).

LMRAA.

Baffier, D., Girard, M., Guillamet, E., Bertin, E., Delon, D. and Hardy, M., 2005–2006. “Les Poissions de la Grande Grotte d’Arcy-sur-Cure (Yonne)” in Homenaje a Jesus Altuna Munibe 57(3): 53–64, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/200503053064AA.pdf (accessed on 27 November 2011).

Grotte Arcy-sur-Cure, Yonne, France. Europe. Fish Motif(s). Paleolithic art.

Abstract: “Une méthode originale de recherche, par amincissement de la calcite, utilisée pour la première fois dans une grotte ornée paléolithique, a permis la découverte, entre autres, de quatre poissons peints en noir sur les parois de la Grande Grotte d’Arcy-sur-Cure (Yonne, France). Ces poissons: salmonidés et brochet, confirment le caractère remarquable du bestiaire de cette grotte constitué par des animaux rares dans les autres cavernes à l’exception de la grotte Chauvet (Ardèche): mammouths, rhinocéros, ours, félin, oiseaux, mégacéros. La fréquentation de cette cavité est datée, par les vestiges au sol bien conservés, de l’aurignaco-gravettien.”

Biblio, Internet.

Baffier, D., Girard, M, Menu, M. and Vignaud, C., 1999. “La Couleur a la Grande Grotte d’Arcy-Sur-Cure (Yonne)” in L’Anthropologie 103: 1–21, Masson, Paris, France. ISSN: 0003-5521.

Grande Grotte, Arcy-Sur-Cure, Yonne, France. Europe. Paleolithic art.

Biblio.

Baffier, Dominique, Guillamet, Eudad, Chillida, Javier, Girard, Michel, Hardy, Maurice and Brunet, Jacques, 1998. “The Grand Grotte at Arcy-Sur-Cure (Yonne, France). New Discoveries by Thinning Calcite” in International Newsletter on Rock Art (21): 28–29, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

GRAND GROTTE, ARCY-SUR-CURE, YONNE, FRANCE. EUROPE. RESEARCH METHODOLOGY. AUTHORS REMOVED CALCITE WHICH OVERLAY PALEOLITHIC CAVE PAINTINGS TO REVEAL THE PAINTINGS BELOW.

LMRAA.

Baglioni, Lapo, Lo Vetro, Domenico and Martini, Fabio, 2012. “L’Arte Parietale del Gruppo dell’Isolidda (S. Vito Lo Capo, Trapani, Sicilia) The Rock Art of Isolidda Group Caves (S. Vito Lo Capo, Trapani, Sicily)” in L’Arte Preistorica in Italia Vol. 1. Atti della XLII Riunione Scientifica dell’IIPP. Trento, Riva del Garda, Val Camonica, 9–13 Ottobre 2007 Preistoria Alpina, 46(1): 109–12, ISSN: 03993-0157.

Group Caves, S. Vito Lo Capo, Trapani, Sicily, Italy. Europe. Paleolithic art.

Internet.

Bahn, P.G., 1978. “Water Mythology and the Distribution of Palaeolithic Parietal Art” in Proceedings of the Prehistoric Society 44: 125–34, The Prehistoric Society, London, England. ISSN: 0079-497X.

PALEOLITHIC. DISTRIBUTION. WATER MYTHOLOGY.

Biblio, Internet.

Bahn, P.G., 1980. “Crib-Biting: Tethered Horses in the Palaeolithic?” in World Archaeology 12: 212–17, Routledge & Kegan Paul, Ltd., London, England. ISSN: 0043-8243.

Paleolithic. Domesticated horse. Tether. Crib-biting.

Abstract: “Crib-biting is a common ‘stable vice’ among horses, which seems directly linked to boredom and prolonged inactive confinement. It wears down the incisor teeth in a characteristic way. Some examples from one Middle and one Upper Palaeolithic site in France are presented in this preliminary paper, which reports on research that is still under way. As the practice is not thought to occur in animals at liberty, the presence of this tooth-wear in archaeological collections may constitute a reliable proof of tethering, and thus is of interest not only to the Palaeolithic but also to all later periods.

Biblio.

Bahn, P.G., 1985. “Ice Age Drawings on Open Rock Faces in the Pyrenees” in Nature 313: 350–51, Nature Publishing Group, ISSN: 0028-0836, EISSN: 1476-4687.

Pyrenees. Europe. Paleolithic art.

Biblio.

Bahn, P.G., 1986 (November). “No Sex, Please, We’re Aurignacians” in Rock Art Research 3(2):99–120, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Europe. Vulva motif(s). Disputed interpretations. Paleolithic art. COMMENTS BY: JOHN CLEGG, JEAN CLOTTES, PAUL FAULSTICH, HEINZ HUNGER, and ALEXANDER MARSHACK. REPLY BY AUTHOR. FURTHER COMMENTS BY: GEORGIA LEE with REPLY BY AUTHOR in RAR VOL.4 NO.1, 1987.

Abstract: “For the past seventy-five years scholars have followed Breuil in interpreting certain early Upper Palaeolithic motifs as vulvae. This paper examines this hypothesis and finds it to be based on erroneous reasoning as well as on wishful thinking. Definite depictions of female genitalia are extremely rare in Palaeolithic iconography, a fact which casts considerable doubt on theories which claim that sexuality played a dominant role in the religion and sign-system of the period. It is argued that the ‘vulva’ interpretation has been applied indiscriminately to a wide variety of motifs, and is not only subjective but also tautological. Other interpretations are certainly possible, and in any case the motifs need to be treated more objectively, and differentiated rather than lumped together under one simplistic heading. [With comments from John Clegg, Jean Clottes, Paul Faulstich, Heinz Hunger and Alexander Marshack (“The eye is not as clever as it thinks it is”), and a reply from the author (“Cherchez la Femme”).]”

LMRAA.

Bahn, P.G., 1987. “A la Recherche de l’Iconographie Paleolithique Hors de l’Europe” in Travaux de l’Institut d’Art Prehistorique 29: 7–18, Universite des Letres, Toulouse, France.

World. Search for Paleolithic art outside of Europe.

IIA.

Bahn, P.G., 1991. “Where’s the Beef? The Myth of Hunting Magic in Paleolithic Rock Art” in Rock Art and Prehistory, Bahn and Rosenfeld, eds. Oxford Monograph 10, 1–13, Oxbow Books, Oxford, England.

Paleolithic art. Hunting magic hypothesis.

Biblio.

Bahn, P.G., 1991. “Pleistocene Images Outside Europe” in Proceedings of the Prehistoric Society 57 (Pt 1): 91–102, The Prehistoric Society, London, England. ISBN: 901286628 1.

World. Pleistocene (paleolithic) art.

Biblio, Internet, LMRAA.

Bahn, Paul G., 1992. “Open Air Rock Art in the Paleolithic” in Rock Art in the Old World, M. Lorblanchet, ed., 395–400, Indira Ghandi National Center for the Arts, New Delhi, India. ISBN: 8185503001.

DOMINGO GARCIA, SEGOVIA and SIEGA VERDE, CIUDAD RODRIGO, SPAIN. FORNOLS-HAUT, CAMPONE, EASTERN FRENCH PYRENEES, FRANCE. EUROPE. UPPER PALEOLITHIC ROCK ART OCCURRENCES AT OPEN AIR SITES.

LMRAA, EPA.

Bahn, Paul G., 1992. “Alice in Wonderland, or Through the Looking Glass?” in American Indian Rock Art, Tucson, Arizona XVII: 1–5, American Rock Art Research Association, El Toro, California.

France. Spain. Europe. ICE AGE ART. PALEOLITHIC ART. RESEARCH METHODS.

LMRAA.

Bahn, Paul G., 1994. “Some New Developments in Ice Age Art” in Ejemplar Dedicado a: Arte Paleolítico Complutum 5: 197–202, Universidad Complutense, Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164326 (accessed on 23 July, 1 December 2011).

Europe. Paleolithic (Ice Age) art. Chronology. Pigment analysis. Distribution.

Abstract: “Recent research has considerably changed our knowledge about Cave Art. Entirely new sites have been discovered, as well as new decorated walls on previously well known caves. Modern techniques related with chronology and pigment analysis are transforming classical schemes and offer new perspectives about this subject.”

Biblio, Dialnet.

Bahn, Paul G., 1994. “Lascaux: Composition or Accumulation” in Zephyrus: Revista de Prehistoria y Arqueología 47: 3–13, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/viewFile/4974/5011 (accessed on 5 December 2011).

Lascaux, Montignac, Dordogne, Perigord, southern France. Europe. Paleolithic art.

Abstract: “The «orthodox» view of the art in the cave of Lascaux is that of a homogeneous composition, spanning a few centuries at most, and dating to about 17,000 years ago. This paper undertakes a thorough and critical review of the surprisingly small number of original texts concerning the cave, and of the very limited and imperfect evidence that has led to this establishment view, and arrives at some very different conclusions regarding the alleged homogeneity and the dating. It argues instead for a multi-phase decoration spanning a long period, and involving two separate caves.”

Biblio, Dialnet.

Bahn, P.G., 1995. “Cave Art Without the Caves” in Antiquity 69(263): 231–37, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

Coa Valley, Portugal. Europe. Paleolithic art. Open-air art. Petroglyphs.

Biblio, IAAL.

Bahn, Paul G., 1995. “Paleolithic Engravings Endangered in Coa Valley, Portugal” in La Pintura XXI(3): 1–3, American Rock Art Research Association, San Miguel, California.

HELL’S CANYON, COA VALLEY, PORTUGAL. EUROPE. PALEOLITHIC ENGRAVINGS DISCOVERED AT RARE OPEN AIR SITE. DESTRUCTION THREATENED BY DAM CONSTRUCTION. PRESERVATION. CONSERVATION. CULTURAL RESOURCE MANAGEMENT.

LMRAA, EPA.

Bahn, Paul G., 1995/1996. “New Developments in Pleistocene Art” in Evolutionary Anthropology 4: 204–15.

Pleistocene (paleolithic) art.

Biblio.

Bahn, Paul G., 1996. “Forword” to Dawn of Art: The Chauvet Cave, 7–12, Harry N. Abrams, Inc., New York, New York.

CHAUVET CAVE, ARDECHE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. AUTHENTICITY, FAKERY, DATING (+/− 30,000 YEARS BP).

LMRAA.

Bahn, Paul G., 1996. “New Developments in Pleistocene Art, 1990-1994” in Rock Art Studies: News of the World I, Bahn and Fossati, eds. Oxbow Monograph (72): 1–13, Oxbow Books, Oxford, England.

World. Rock art studies. Pleistocene art. Paleolithic cave art. Direct dating. Bibliography.

LMRAA.

Bahn, P.G., 1997 (May). “Membrane and Numb Brain: A Close Look at a Recent Claim for Shamanism in Palaeolithic Art” in Rock Art Research 14: 62–68, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

EUROPE. SOUTH AFRICA. PALEOLITHIC CAVE ART. SHAMANISM. AUTHOR DEBUNKS POPULAR THEORIES THAT ROCK ART IS “ENTIRELY” SHAMANISTIC. THE COMMENTS HERE ARE OFFERED IN REVIEW OF _LES CHAMANES DE LA PREHISTOIRE. TRANSE ET MAGIC DANS LES GROTTES ORNEES_, J. CLOTTES and D. LEWIS-WILLIAMS, 1996, LE SEUIL, PARIS.

LMRAA.

Bahn, Paul G., 1999. “New Developments in Pleistocene Art, 1990–1994” in News 95—International Rock Art Conference Proceedings, unpaginated, Centro Studi e Museo d’Arte Prehistorica, Pinerolo, Italy.

Europe. Rock art studies. History of research. Pleistocene (paleolithic) art.

LMRAA.

Bahn, Paul, 2001. “Paleolithic Open Air Art: The Impact and Implications of a “New Phenomenon”” in Les Premiers Hommes Modernes de la Peninsule Iberique, Actes du Colloque de la Commission VIII de I’UISPP. Vila Nova de Foz Coa, 22–24 Octobre 1998, J. Zilhao, T. Aubry and A.F. Carvalho, eds. Trabalhos de Arqueologia, Vol. 17: 155–60, Instituto de Gestao do Patrimonio Arquitetonico e Arqueologico (IGES PAR), Lisbon, Portugal. ISBN: 972-8662-00-9.

http://www.igespar.pt/media/uploads/trabalhosdearqueologia/17/14.pdf (accessed on 11 February 2012).

Europe. Paleolithic. Open air art sites.

RASNW3, Internet.

Bahn, Paul, 2002. “L’Art Paleolithique de Plein Air dans le Monde Extra-Europeen” in L’Art Paleolithique a l’Air Libre. Le Paysage Modifie par l’Image, Tautavel—Campome, 7–9 Octobre 1999, D. Sacchi, ed., 209–15, GAEP and GEOPRE, Carcassonne. ISBN: 2-9518735-0-6.

Africa. Central Asia. Siberia. Australia. South America. World. Paleolithic. Open air art sites.

RASNW3, LMRAA.

Bahn, P.G., 2003. “Location, Location: What Can the Positioning of Cave and Rock Art Reveal about Ice Age Motivations?” in Cave Art and Space: Archaeological and Architectural Perspectives, A. Pastoors and G.-C. Weniger, eds., 11–20, Wissenschaftliche Schriften des Neanderthal Museums, Mettman.

Europe. Paleolithic cave art. Setting.

RASNW3, Biblio.

Bahn, Paul G., 2003. “New Developments in Pleistocene Art, 1995–1999” in Rock Art Studies: News of the World 2, Bahn and Fossati, eds., 1–11, Oxbow Books, Oxford, England.

Spain. France. Portugal. Germany. Europe. World. Rock art studies. Pleistocene (paleolithic) art. Direct radiocarbon dates.

LMRAA.

Bahn, Paul, 2005–2006. “A Lot of Bull? Pablo Picasso and Ice Age Cave Art” in Homenaje a Jesus Altuna Munibe 57(3): 217–223, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/200503217223AA.pdf (accessed on 27 November 2011).

France. Spain. Europe. Paleolithic art. Pablo Picasso.

Abstract: “Many claims have been made, and continue to be made, concerning PICASSO’s reaction to Ice Age cave art — in particular, it is said that he visited either Altamira or Lascaux, and declared that “we have invented nothing” or that ”none of us can paint like this”. The paper investigates these claims, and finds that they have absolutely no basis in fact. PICASSO was minimally influenced by Ice Age art and expressed little interest in it.”

Internet, RASNW4.

Bahn, Paul, 2007. “The Historical Background to the Discovery of Cave Art at Creswell Crags” in Palaeolithic Cave Art at Creswell Crags in European Context, Paul Pettitt, Paul Bahn and Sergio Ripoll, eds., 1–13, Oxford University Press, Oxford, England. ISBN: 978-0-19-929917-1.

Creswell Crags, England, Britain, British Isles. Europe. Paleolithic cave art. History of the discovery of the cave art.

LMRAA.

Bahn, Paul, 2007. “Stone Horse and Papal Bull” in Saguntum: Papeles del Laboratorio de Arqueología de Valencia 39: 141–46, Universitat de València, ISSN: 0210-3729.

Spain. Europe. Pope Calixtus III. Paleolithic art.

RASNW4.

Bahn, Paul G., 2007. “Chapter 1: The Earliest Imagery Around the Globe” in Image and Imagination: A Global Prehistory of Figurative Representation, L. Morley and C. Renfrew, eds. McDonald Institute Monographs, 3–16, The McDonald Institute for Archaeological Research, ISBN-10: 190293748 ISBN-13: 978-1902937489.

Europe. Americas. Middle East. Central Asia. India. Siberia. Far East. Australasia. World. Pleistocene (paleolithic) art.

Biblio, LMRAA.

Bahn, Paul, 2008. “1. New Developments in Pleistocene Art, 2000–2004” in Rock Art Studies: News of the World III, Paul Bahn, Natalie Franklin and Matthias Strecker, eds., 1–15, Oxbow Books, Oxford, England. ISBN: 978-1-84217-316-9.

Europe. Rock art studies. Recent research. Pleistocene (paleolithic) art. Literature review. New discoveries.

LMRAA.

Bahn, Paul, ed., 2010. An Enquiring Mind: Studies in Honor of Alexander Marshack American School of Prehistoric Research Monograph Series, 352 pgs, Oxbow Books, Oxford, England. ISBN: 9781842173831.

Europe. Paleolithic art.

Abstract: “Alexander Marshack single-handedly revolutionized the field of Paleolithic art research. His astounding photographs of portable art objects caused us to see them with fresh eyes, to ask new questions, and to understand their technology and production far more precisely; and his pioneering use of infrared and ultraviolet light in the caves revealed startling new facts about the paintings. In addition, he carried out important, provocative and challenging work on archaeoastronomy, calendar sticks, female imagery, and other topics. Alexander Marshack was able to do what nobody else ever had before, or perhaps ever will again—i.e., travel all over Europe, visiting not only many decorated caves but also all the portable art objects scattered throughout the continent, including Russia. This unique experience and knowledge, together with his unrivalled and amazing documentation of all this material, made him by far the USA’s foremost specialist in Paleolithic imagery. To honor his memory, in this book, scholars from many parts of the world contribute papers about some of the many problems that interested him and to which he made such a massive contribution.”

Internet, LMRA

Bahn, Paul G., 2013. “Lascaux: Composition or Accumulation?” in Global Rock Art 217–230, Indira Gandhi National Centre for the Arts (IGNCA) and Aryan Books, Dehli, India. ISBN-10: 8173054029, ISBN-13: 978-8173054020.

World. Paleolithic art. Dating. Composition and accumulation of imagery over time. Suggests the “shaft” is essentially a second cave with its own sequence.

LMRAA.

Bahn, Paul G., 2015. “Open-Air Ice Age Art: The History and Reluctant Acceptance of an Unexpected Phenomenon” in Prehistoric Art as Prehistoric Culture, Studies in Honour of Professor Rodrigo de Balbín-Behrmann, Primitiva Bueno-Ramírez and Paul G. Bahn, eds., 79–92, Archaeopress, Oxford, England. ISBN: 9781784912222. Epublication ISBN: 9781784912239.

Europe. Paleolithic art. Open air art. History of research.

Internet, Biblio.

Bahn, Paul, 2016. “New Developments in Pleistocene Art, 2010-2014” in Rock Art Studies: News of the World V, Paul Bahn, Natalie Franklin, Matthias Strecker and Ekatarina Devlet, eds., 1–18, Archaeopress Archaeology, Oxford, England. ISBN: 9781784913533.

World. Rock art studies. History of research. Pleistocene (paleolithic) rock art.

Internet, LMRAA.

Bahn, Paul G., 2016. Images of the Ice Age, 480 pgs, Oxford University Press, Oxford, England. ISBN: 9780199686001.

France. Spain. Europe. World. Franco-Cantabrian Ice Age art. Paleolithic cave art. Regional survey. History of research. Origins of art. Pleistocene art from around the world. Dating. Fakes and forgeries. Open air art. Motifs. Interpretation. 3rd revision. See Bahn and Vertut, 1988, for original publication.

Abstract: “Images of the Ice Age, here in its third edition, is the most complete study available of the world’s earliest imagery, presenting a fascinating and up-to-date account of the art of our Ice Age ancestors. Authoritative and wide-ranging, it covers not only the magnificent cave art of famous sites such as Lascaux, Altamira, and Chauvet, but also other less well-known sites around the world, art discovered in the open air, and the thousands of incredible pieces of portable art in bone, antler, ivory, and stone produced in the same period. In doing so, the book summarizes all the major worldwide research into Ice Age art both past and present, exploring the controversial history of the art’s discovery and acceptance, including the methods used for recording and dating, the faking of decorated objects and caves, and the wide range of theories that have been applied to this artistic corpus. Lavishly illustrated and highly accessible, Images of the Ice Age provides a visual feast and an absorbing synthesis of this crucial aspect of human history, offering a unique opportunity to appreciate universally important works of art, many of which can never be accessible to the public, and which represent the very earliest evidence of artistic expression.”

LMRAA.

Bahn, Paul G. and Butlin, Roger K., 1990. “Les Insectes dans l’Art Paleolithique: Quelques Observations Nouvelles sur la Sauterelle d’Enlene (Ariege)” in L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21 November 1987, Jean Clottes, dir., 247–253, Ministere de la Culture, Foix, France. ISBN:2-11-085550-9.

Enlene, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Insect motif(s).

LMRAA.

Bahn, Paul, Munoz, Francisco Pettitt, Paul and Ripoll, Sergio, 2004. “New Discoveries of Cave Art in Church Hole (Creswell Crags, England)” in Antiquity 78(300), Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

Church Hole, Creswell Crags, Nottinghamshire, England, Britain, British Isles. Europe. Paleolithic cave art.

Internet.

Bahn, P., Pettitt, P. and Ripoli, S., 2003. “Discovery of Palaeolithic Cave Art in Britain” in Antiquity 77(296): 227–231, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

Church Hole, England, Britain, British Isles. Europe. Paleolithic cave art.

Biblio, RASNW3, Refdoc.fr.

Bahn, Paul G. and Vertut, Jean, 1988. Images of the Ice Age, 240 pgs, Facts on File, New York, New York, Oxford.

France. Spain. Europe. Franco-Cantabrian Ice Age art. Paleolithic cave art. Regional survey. Dating. Interpretation.

LMRAA.

Bahn, Paul G. and Vertut, Jean, 1997. Journey Through the Ice Age, 240 pgs, University of California Press, Berkeley, Los Angeles, California.

France. Spain. Europe. Paleolithic art. Ice Age art. Prehistoric art. This is the 2nd revised edition of Bahn and Vertut, 1988, “Images” Bibliography. Dating. Facsimile.

LMRAA, MWRBRAD.

Bailey, Jonathan, 2014. New Perspectives on Utah Mammoth Petroglyphs, n.p., www.scribid.com.

http://www.scribd.com/doc/215342260/New-Perspectives-on-the-Utah-Mammoth-Petroglyphs (accessed on 9 May 2014).

Bluff, Utah. Southwest United States. North America. Paleolithic art? Mammoth motif(s).

Internet.

Bailloud, G. and Tendron, G., 1946. “Les Gravures Pariétales de la Grotte du Cheval à Arcy-sur-Cure (Yonne)” in Bulletin de la Société Préhistorique Française 43(5–6): 155–160, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1946_num_43_5_2046 (accessed on 17 October 2011).

Grotte du Cheval à Arcy-sur-Cure, Yonne, France. Europe. Paleolithic art.

Persee.

Baills, H., 1998. “Approche Statistique des Industries de la Grotte Ornée du Portel (Loubens-Ariège) /Statistical Approach to the Industries of the Rock Art Cave le Portel (Loubens, Ariege)” in L’Anthropologie 102: 265–92, Paris, France. ISSN: 0003-5521.

Le Portel, Loubens, Ariege, France. Europe. Paleolithic cave art. Statistics.

Abstract: “La grotte du Portel à Loubens (Ariège) doit sa notoriété à la qualité de ses nombreuses oeuvres pariétales. Elle fait, à ce titre, partie des grands sanctuaires pyrénéens. Cette réputation devait quelque peu éclipser l’intérêt pour les mobiliers récoltés lors des fouilles que Joseph Vézian entreprit entre 1913 et 1918 dans le réseau orné. Malgré la remarquable publication qu’en fit leur inventeur en 1955, ces séries méritaient d’être revisitées à la lumière de problématiques plus actuelles. C’est ce que tente le présent article en reposant au travers de l’approche statistique les questions de la contemporanéité des matériaux ainsi que leur intégration dans le cadre large du Magdalénien des Pyrénées.”

SCI, Refdoc.fr.

Bain, Col. James G., 1976 (May). “Paleolithic Rock Art. Does it Exist in North America” American Indian Rock Art, El Paso, Texas 2: 109–13, El Paso Archaeological Society, El Paso, Texas.

United States. North America. PALEOLITHIC ROCK ART DISCOVERIES ANTICIPATED.

LMRAA.

Balazut, Amelie, 2010–2011. “L’Animal, Figure Anamorphosique de l’Homme” in Symposium 1: L’Art Pléistocène dans le Monde Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 65–66: 28–29, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Animal, human motif(s).

Dialnet.

Balbín Behrmann, Rodrigo de, 1986. “Los Grabados y Pinturas de las Cuevas de los Emboscados y el Patatal” in Estudio de Arte Paleolítico 233–70, Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, ISBN: 84-505-5052-1.

Cuevas de los Emboscados y el Patatal, Spain. Europe. Paleolithic art.

Dialnet.

Balbin Behrmann, Rodrigo de, 1989. “L’Art de la Grotte de Tito Bastillo (Ribadesella, Espagne). Une Vision de Synthese: in L’Anthropologie 93: 435–62, Masson, Paris, France. ISSN: 0003-5521.

Tito Bastillo, Ribadesella, Spain. Europe. Paleolithic art.

Biblio.

Balbín Behrmann, Rodrigo de, 2008. “El Arte Rupestre Paleolítico al Aire Libre en la Península Ibérica” in Arte Prehistórico al Aire Libre en el Sur de Europa, Rodrigo Balbin Behrmann, ed., 19–56, Junta de Castilla y León, Consejería de Cultura y Turismo, Salamanca, Spain. ISBN: 978-84-9718-592-9.

Iberian Peninsula, Spain. Europe. Paleolithic art. Open air sites.

Dialnet

Balbin Behrmann, R. de, ed., 2008. Arte Prehistorico al Aire Libre en el Sur de Europa, 500 pgs, Junta de Castillo y Leon, Consejeria de Cultura y Turisimo, Salamanca, Spain. ISBN: 978-84-9718-592-9.

Spain. Portugal. Southern Europe. Upper Paleolithic open air rock art.

Biblio, RASNW4, LMRAA

Balbin Behrmann, Rodrigo de and Alcolea Gonzalez, José Javier, 1994. “Arte Paleolitico de la Meseta Espanola” in Ejemplar Dedicado a: Arte Paleolítico Complutum 5: 97–138, Universidad Complutense: Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164323 (accessed on 29 November 2011).

Spanish Meseta, Spain. Europe. Paleolithic art. Chronology.

Abstract: “Palaeolithic art of tite Spanish Meseta has been usual/y considered a sparse phenomenon, its existence being due to the influence of richer peripherical regions. Evidence from previous or classic and new discoveries of parietal and porlable art are studied here, pr oposing a “short” chronological development between Leroi-Gourhan’s styles III and IV.”

RASNW3, Biblio, Dialnet.

Balbin Behrmann, R. de and Alcolea Gonzalez, J.J., 2001. “Siega Verde en l’Art Paleolithique de Plein “Air: Quelques Precisons sur son Contenu, Sa Chronologie et sa Signification” in Les Premiers Hommes Modernes de la Peninsule Iberique, Actes du Colloque de la Commission VIII de I’UISPP. Vila Nova de Foz Coa, 22–24 Octobre 1998, J. Zilhao, T. Aubry and A.F. Carvalho, eds. Trabalhos de Arqueologia, 17: 205–236, Instituto de Gestao do Patrimonio Arquitetonico e Arqueologico (IGES PAR), Lisbon, Portugal. ISBN: 972-8662-00-9.

http://www.igespar.pt/media/uploads/trabalhosdearqueologia/17/18.pdf (accessed on 11 February 2012).

Siega Verde, Spain. Europe. Paleolithic art. Open air. Chronology. Dating.

RASNW3, Internet, MWRBRAD.

Balbin Behrmann, R. de and Alcolea Gonzalez, J.J., 2002. “L’Art Rupestre Paleolithique a l’Interieur de la Peninsule Iberique. Une Vision Chrono-Culturelle d’Ensemble” in L’Art Paleolithique a l’Air Libre. Le Paysage Modifie par l’Image, Tautavel—Campome, 7–9 Octobre 1999, D. Sacchi, ed., 139-157, GAEP and GEOPRE, Carcassonne. ISBN: 2-9518735-0-6.

Douro basin, interior of the Iberian Peninsula, Spain. Europe. Paleolithic art. Chronology.

RASNW3, Biblio, Internet, LMRAA.

Balbin Behrmann, Rodrigo de and Alcolea Gonzalez, J.Javier, 2005. “Espace d’Habitation, Espace d’Enterrement, Espace Graphique. Les Coincidences et les Divergences dans l’Art Paleolithique de la Corniche Cantabrique” in Comportements des Hommes du Paleolithique Moyen et Superieur en Europe: Territoires et Milieux, D. Vialou, J. Renault-Miskowsky and M. Pathou-Mathis, eds., Etudes et Recherches Archeologiques de l’Universite de Liege, (ERAUL) 111, Actes du Colloque du G.D.R., 1945 du CNRS, Paris, 8–10 January 2003, Liege, 193–206, Universite de Liege, Liege, Belgium.

https://www.academia.edu/4683790/R_DE_BALBIN_J_ALCOLEA_2003_ESPACE_DHABITATION (accessed on 2 May 2014).

Cantabria, Spain. Europe. Paleolithic art.

RASNW3, Academia.edu.

Balbin Behrmann, Rodgrigo de and Alcolea Gonzalez, J.J., 2005. “Arte Paleolitico en los Confines de Europa: Cuevas y Aire Libre en el Sur de la Peninsula Iberica” in IV Simposio de Prehistoria. Cueva de Nerja. La Cuenca Mediterranea Durante el Paleolitico Superior, 38,000–10,000 Anos, Sanchidrián Torti, J. L., Marquez Alcantara, A.M. and Fullola i Pericot, J.M., eds. “Reunión de la VIII Comisión del Paleolítico Superior, U.I.S.P.P.”, 118–36, Fundacion Cueva de Nerja, Malaga, Spain. ISBN: 8492026855 9788492026852.

Iberian Peninsula, Spain. Europe. Paleolithic art. Cave art. Open air art.

Biblio.

Balbín Behrmann, Rodrigo de and Alcolea González, José Javier, 2005. “Testigos del Frio: La Fauna en el Arte Rupestre Paleolítico del Interior Peninsular” in Geoarqueología y Patrimonio en la Península Ibérica y el Entorno Mediterráneo, Alfredo Pérez González, Manuel Santonja Gómez, María José Machado, coords. Reunión Nacional de Geoarqueología, 4. 2002, Soria, 489-494547-566, ADEMA, ISBN:84-7359-581-5.

Interior Peninsular, Spain. Europe. Paleolithic art. Animal (fauna) motif(s).

Dialnet, Biblio.

Balbín Behrmann, Rodrigo de and Alcolea González, José Javier, 2007–2008. “Arte Mueble en Tito Bustillo: Los Ultimos Trabajos” in Homenaje a Ignacio Barandiarán Maestu, Javier Fernández Eraso, Juan Santos Yanguas; Ignacio Barandiarán Maestu (hom.), coords. Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas 24–25(1): 131–59, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

https://www.academia.edu/4683795/REVISTA_DE_PREHISTORIA_HISTORIA_ANTIGUA_ARQUEOLOGIA_Y_FILOLOGIA_CLASICAS (accessed on 2 May 2014).

Tito Bustillo, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art.

Abstract: “Till the return to the documentation and excavation in the Ardines massif, we have intended to study it in its own ensemble, and hence have we investigated in La Cuevona, La Lloseta, Les Pedroses and Tito Bustillo, the main cave of the massif, and who should be understood in connection with the other ones. Inside the last one we have documented the presence of diverse places with mobile art pieces not only in the old entrance, but rather they are distributed by the interior of the cave, indicating presence and use of whole space. We have carried out an archaeological trench in the Ensemble XI, area of old entrance, where the presence of decorated objects is abundant and very comparable to the interior finds (contours decoupés) and to the objects coming from the old excavations of A. Moure. All these realities allows us to speak about a long and extensive settlement inside the Pozu’lRamu that we propose through the rock and mobile art is very previous as we thought by the archaeological evidences.”

Dialnet, Academia.edu.

Balbín Behrmann, Rodrigo de and Alcolea González, José Javier, 2009. “Les Colorants de l’Art Paléolithique dans les Grottes et en Plein Air” in L’Anthropologie 113: 559–601, Masson, ISSN: 0003-5521.

http://www.sciencedirect.com/science?_ob=PublicationURL&_tockey=%23TOC%237226%232009%23998869996%231577140%23FLA%23&_cdi=7226&_pubType=J&_auth=y&_acct=C000228598&_version=1&_urlVersion=0&_userid=10&md5=ab6ad939818311ac8284ef9c6a995b5f (accessed on 17 August 2011).

Siega Verde, Spain. Europe. Paleolithic art. Pigment analysis. Open air site with pigment traces.

Publisher’s Abstract: “The dyes used in the manufacture of Palaeolithic paintings are a cultural element of the first order to know the intentions of the artists, their points of supply, its systems for mixing and preparing and the quality of the used pigments. But here is not its only value, since they are used to establish possible areas and cultural relations that go beyond the technical to constitute genuine cultural bases. What we know at the moment suggests a degree of heterogeneity in the mixtures and systems on a common term that adapts to each specific site. The colours are fairly well preserved in the cave interior, and very badly abroad, in the Palaeolithic version of rock shelter external art. But we were able to isolate some samples in the Spanish site of Siega Verde, leading to affirm the general community of systems for all Palaeolithic art, underground and on it, proving that what today is black and white had chromatic signalling in the Palaeolithic epoch.”

Internet.

Balbín Behrmann, Rodrigo de and Alcolea Gonzalez, J. Javier, 2012. “Documentacion Arqueologica en la Cueva de Tito Bustillo: Los Ultimos Trabajos/Archaeological Record in Tito Bustillo Cave: Last Works” in El Paleolitico Superior Cantabrico. Actas de la Primera Mesa Redonda, San Roman de Candamo (Asturias), 26–28 de Abril de 2007, Pablo Arias Cabal, Maria Soledad Corchon Rodriguez, Mario Menendez Fernandez and Jose Adolfo Rodriguez Asensio, eds. Monografías del Instituto Internacional de Investigaciones Prehistóricas de la Universidad de Cantabria, 3: 129–35, Publican Ediciones, Santander, Spain. ISBN: 978-84-86116-53-8.

https://www.academia.edu/4683544/DOCUMENTACION_ARQUEOLOGICA_EN_LA_CUEVA_DE_TITO_BUSTILLO_L (accessed on 2 May 2014).

Tito Bustillo, Cantabria, Spain. Europe. Paleolithic art. Archaeological context.

Academia.edu.

Balbin Behrmann, R. de and Alcolea Gonzalez, J.J., 2014. “Mas sobre Cronologia del Paleolitico Cantabrico: Tito Bustillo, Asturias” in ARPI (Arqueologia y Prehistoria del Interior Peninsular) 1: 4–21.

Tito Bustillo, Asturias, Cantabria, Spain. Europe. Chronology. Paleolithic art.

Biblio.

Balbín Behrmann, Rodrigo de and Alcolea González, José Javier, 2014. “Tito Bustillo en Fechas” in Excavaciones Arqueologicas en Asturias 2007–2012, 555–69, Gobierno del Principado de Asturias, Consejeria de Educaccion, Cultura y Deporte.

http://ftp.asturias.es/asturias/patrimonio/Excavaciones_Arqueologicas_2007_2014.pdf (accessed on 13 June 2016).

Tito Bustillo, Ribadesella, Asturias, Spain. Europe. Paleolithic art. Dating.

Internet.

Balbín-Behrmann, Rodrigo de, Alcolea-González, José-Javier and Alcaraz-Castaño, Manuel, 2017 (February 12). “The Palaeolithic Art of Tito Bustillo Cave (Asturias, Spain) in its Archaeological Context” in Quaternary International 430(Pt A): 81–96, International Union for Quaternary Research, ISSN: 1040-6182.

http://dx.doi.org/10.1016/j.quaint.2016.01.076 (accessed on 2 May 2017).

Tito Bustillo Cave, Asturias, Spain, Europe. Paleolithic art. Archaeological context.

Abstract: “In this paper we analyze cave and portable graphic expressions of Tito Bustillo cave (Asturias, Spain) in relation to their archaeological context. We use an integrative approach that considers graphic expressions, archaeological objects and organized underground spaces as integrative parts of the Upper Palaeolithic human behaviors in the caves. We conclude that Tito Bustillo is an outstanding case of humanized cave, in which the underground space was humanized through graphic expressions, permanent structures, topographic marking systems and other daily-life activities since the beginnings of the Upper Palaeolithic. During the Middle and Upper Magdalenian this process of humanization significantly increased, as shown by the development of a large living site sharing spaces with the most decorated areas of the cave.”

Science Direct.

Balbin Behrmann, Rodrigo de, Alcolea-Gonzalez, José-Javier, Baquedano, Enrique, Fernandez, José Javier and Alcaraz-Castano, Manuel, 2016. “The Plaque of Villalba de Almazán and the Palaeolithic Art of Inner Iberia” in Styles, Techniques et Expression Graphique dans l’Art sur Paroi Rocheuse (Styles, Techniques and Graphic Expression in Rock Art), Marc Groenen and Marie-Christine Groenen, eds. British Archaeological Reports, (S2787): 121–53, British Archaeological Reports Ltd, ISBN: 9781407314464.

https://www.academia.edu/28934176/Balb%C3%ADn-Behrmann_R._et_al._2016_The_Plaque_of_Villalba_de_Almaz%C3%A1n_and_the_Palaeolithic_Art_of_Inner_Iberia (accessed on 22 October 2016).

Inner Iberia. Europe. Paleolithic art. mobiliary (portable) rock art. Horse, goat, animal motif(s).

Abstract: “The Palaeolithic art of the Iberian interior territories is quantitatively scarce, spatially dispersed and relatively poor in archaeological context. This state-of-the-art is not only a reflection of the Palaeolithic reality, but is also due to a prolonged lack of investigation in the area, which has been only started to be corrected in recent years. The Plaque of Villalba is one of the few portable Palaeolithic art works known in the Iberian plateau. It was found in 1988 in the upper Duero basin, and despite lacking any kind of archaeological context, it can be considered a masterpiece among the Upper Palaeolithic graphic expression of Iberia. Here we present a new study of the piece using new recording techniques that were not available when it was first studied. These techniques not only include a complete new series of digital photos, but also a 3D scan of the plaque. Our new recording of the engravings of the plaque, more accurate and comprehensive than previous views, enable us to discuss their style and chronology in the context of the Palaeolithic art of inner Iberia.”

Academia.edu.

Balbin, R. de, Alcolea Gonzalez, J. and Cruz Naimi, L.A., 1995. “El Yacimiento Rupestre Paleolitico al Aire Libre de Siega Verde (Salamanca, Espagne): Una Vision de Conjunto” in Trabalhos de Antropologia e Etnologia 35: 73–102, Porto, Portugal.

Siega Verde, Salamanca, Spain. Europe. Paleolithic art.

IIA.

Balbin Behrmann, Rodrigo de, Alcolea Gonzalez, J. Javier and Gonzalez Pereda, Miguel A., 1999. “Une Vision Nouvelle de la Grotte de El Pindal, Pimango, Ribadedeva, Asturies/A New Vision of El Pindal Cave, Pimiango, Ribadedeva, Asturias” in L’Anthropologie 103: 51–92, Paris, France. ISSN: 0323-1119.

https://www.researchgate.net/publication/286518315_A_new_vision_of_El_Pindal_Cave_Pimiango_Ribadedeva_Asturias (accessed on 4 September 2017).

El Pindal Cave, Pimiango, Ribadedeva, Asturias, Spain. Europe. Paleolithic art.

Abstract: “The cave El Pindal is one of the first known in the Iberian Peninsula, and one of the most famous and cited in the scientific bibliography. In reality, we used until now the ancient publication of Alcalde del Rio, Breuil and Sierra, because is is almost the only one existing on a such important cave. Without intending to remake the entire study of El Pindal, we present now a review of the cave, which is not well preserved, but possesses rock art manifestations more assorted and abundant that what was known as representations of reindeers, of a chamois in the main pannel and of 8 mammoths painted or engraved. Our revision does not propose only the unpublished figures existence, but also a later chronology, belonging in almost all the cases to a Middle Magdalenian. Tecnics, utilization of the reliefs, and customary utilization of the black and red colours in the same figures, accompanied by engraving, conventions and fauna, allow us to locate the assemblage in the classic style IV Ancient of A. Leroi-Gourhan. A new vision of El Pindal Cave, Pimiango, Ribadedeva, Asturias (PDF Download Available). Available from: https://www.researchgate.net/publication/286518315_A_new_vision_of_El_Pindal_Cave_Pimiango_Ribadedeva_Asturias [accessed on 4 September 2017].”

SCI, RASNW2, Academia.edu.

Balbin Behrmann, R. de, Alcolea Gonzalez, J.J. and Gonzalez Pereda, M.A., 2003. “El Macizo de Ardines: Un Lugar Mayor del Arte Paleolitico Europeo” in El Arte Prehisorico desde los Inicios del Siglo XXI, J.J. Acosta Gonzalez and R. Balbin Behrmann, eds. Primer Simposium Internacional de Arte Prehistorico de Ribadesella, 91–151, Asociacion Cultural Amigos de Ribadesella.

El Macizo de Ardines, Asturias, Spain. Europe. Paleolithic art.

RASNW3, Biblio.

Balbín Behrmann, Rodrigo de, Alcolea González, J. Javier and González Pereda, Miguel A., 2006. “La Lloseta: Une Grotte Importante et Presque Méconnue dans l’Ensemble de Ardines, Ribadesella” in L’Anthropologie 109(4): 641–701, Masson, Paris, France. ISSN: 0003-5521.

http://www.sciencedirect.com/science?_ob=PublicationURL&_tockey=%23TOC%237226%232005%23998909995%23613073%23FLA%23&_cdi=7226&_pubType=J&_auth=y&_acct=C000228598&_version=1&_urlVersion=0&_userid=10&md5=9e54a298f0c73b10bbf92c7b475f0fc5 (accessed on 19 August 2011).

La Lloseta, Ardknes, Ribadesella, Spain. Europe. Paleolithic art.

Abstract: “This summary on The Lloseta shows us a much richer reality that it had been presented through the precedent publications. To begin it is presented as an shelter environment decorated in all their extension whose decoration and parallel they find real sense if we put them in connection with the neigh boring Tito Bustillo. It possesses a prevalence of signs and old representations, a bad general conservation and an own and original internal organization. None of the caves of Ardines, including their main protagonist, she makes isolated significant sense, but rather they are and were supplemented in the past, for activities, occupation and use. We try to know the meaning of all and each one of the caves in connection with the other ones, because we think that their function should be collective and complementary.”

Internet, RASNW4.

Balbín Behrmann, Rodrigo de Alcolea González, José Javier and Santonja Gómez, Manuel, 1994. “Siega Verde y el Arte Rupestre Paleolítico al Aire Libre” in 6 Coloquio Hispano-Ruso de Historia, Madrid, 5–19, Fundación Cultural Banesto, ISBN:84-604-8831-4.

Siega Verde, Spain. Europe. Paleolithic art. Open air sites.

Dialnet, Biblio.

Balbin Behrmann, R. de, Alcolea Gonzalez, Javier and Santonja Gomez, Manuel, 1995 (Decembr–January). “Siega Verde. Un Art Rupestre Paleolithique a L’Air Libre dans la Valle du Douro” in L’Art Prehistorique Les Dossiers de Archéologie (209): 98–105, Editions Faton, Dijon, France. ISSN: 1141-7137.

Siega Verde, Douro Valley, Portugal, Europe. Paleolithic art. Open air art sites.

LMRAA.

Balbin Behrmann, R. de, Alcolea Gonzalez, J.J. and Santonja Gomez, M., 1996. Arte Rupestre Paleolitico al Aire Libre de la Cuenca del Duero: Siega Verde y Foz Coa Serie Monografias y Estudios, 49 pgs, Fundacion Rei Afonso Henriques, ISBN: 8492238909, 9788492238903.

Cuenca del Duero, Siega Verde and Foz Coa, Portugal. Spain. Europe. Paleolithic art in the open air.

RASNW2, RASNW3, Internet, Academia.edu.

Balbin Behrmann, R. de, Alcolea Gonzalez, J.J., Santonja Gomez, M. and Perez, R., 1991. “Siega Verde (Salamanca). Yacimiento Artistico Paleolitico al Aire Libre” in Del Paleolitico a la Historia, 33–48, Junta de Castilla y León, Consejería de Cultura y B. Social, Salamanca, Spain.

Siego Verde, Salamanca, Spain. Europe. Paleolithic art. Open air.

RASNW3, Biblio..

Balbin Behrmann, R. de and Bueno Ramirez, R. eds., 2003. El Arte Prehistorico desde los Inicios del Siglo XXI Primer Symposium Internacional de Arte Prehistorico de Ribadesella, 525 pgs, Associacion Cultural Amigos de Ribadesella, Ribadesella, Spain.

Brazil. World. Paleolithic art. Rock features: megalith, stelae. Recent schematic art.

Biblio, RASNW3.

Balbín Behrmann, Rodrigo de and Bueno Ramírez, Primitiva, 2009. “Altamira, un Siècle après: Art Paléolithique en Plein Air” in L’Anthropologie 113: 602–28, Masson, ISSN: 0003-5521.

http://www.sciencedirect.com/science?_ob=PublicationURL&_tockey=%23TOC%237226%232009%23998869996%231577140%23FLA%23&_cdi=7226&_pubType=J&_auth=y&_acct=C000228598&_version=1&_urlVersion=0&_userid=10&md5=ab6ad939818311ac8284ef9c6a995b5f (accessed on 17 August 2011).

Siega Verde, Spain. Europe. Paleolithic art. Open air sites

Publisher’s Abstract: “The discovery of Paleolithic rock art in the open air, which, from years 1990 became very important in the Iberian Peninsula, opened more prospective on the interpretation of graphics of the groups of hunters in southern Europe. The development of research, both in the field of stylistic analysis, and in the site Siega Verde, as in the analysis of archaeological contexts, as in the site of Foz Côa, defined the facets the most innovative of the Upper Paleolithic, creating a very different geography as the traditionally allowed for the Iberian Peninsula. Current research continues to provide new data which satisfy the Paleolithic–lithic sequences, in which the painted and engraved symbols marked and defined the territory of the oldest groups, constituting the ideological basis for the claim of these territories by the heirs more direct.”

Internet, Refdoc.fr, RASNW4.

Balbín Behrmann, Rodrigo de, Bueno Ramirez, Primativa and Alcolea Gonzalez, Jose Javier, 2010. “Técnicas, Estilo y Cronología en el Arte Paleolítico del Sur de Europa: Cuevas y Aire Libre” in Artes Rupestres da Pré-história e da Proto-história, Paradigmas & Metodologias de Registo, Museu do Côa (Vila Nova de Foz Côa), 26, 27 e 28 de Novembro 2010, 105–124.

https://www.academia.edu/4683154/8_RBBehrmann_et_al_3 (accessed on 2 May 2014).

Southern Europe. Paleolithic art. Documentation. Recording methodology.

Abstract: “The methodology for documentation of Paleolithic art has a long route. The protocols applied to contexts in cave have applied on the same way outdoors to provide testable references. Our proposal for the relationship between both versions of a similar graphical system of Paleolithic chronology, it has strong evidences and is established in a convincing model of work.This text focuses on the documentation and technical aspects in order to propose systematics recognizable in the scientific field that corresponds to the outdoor Paleolithic art.The application of these protocols to study the Holocene graphics is a facet, although not discussed in depth, be understood as necessary to give rigor to the documentation of later chronologies.”

Academia.edu.

Balbin Behrmann, Rodrigo de, Bueno Ramirez, Primativa, Barroso Bermejo, Rosa and Villanueva Ortiz, Piedad, 2017. “Images of the Past in the Lands of Antequera, Málaga, Spain. Palaeolithic to Post-Palaeolithic Transition in Southern Europe” in Munibe 68: 115–133, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN (Internet): 2172-4555.

Antequera, Málaga, Andalucia, Spain. Europe. Paleolithic art. Post-paleolithic art.

Abstract: “Many examples are known, in southern Europe in general and in the Iberian Peninsula in particular, of ancient landscapes where the passing of time was marked on rocks with the symbols used by the people who transited by them. However, Andalusia and especially the area around Antequera is one of the regions in which this process can be followed most clearly, through the graphic sequences at some of the decorated sites. Palaeolithic art in caves and the open air, with a better-developed painted version than documented so far in the rest of the Iberian Peninsula, was the basis for the development of engraved and painted sites in the same regions in the post-Palaeolithic period.”

Academia.edu.

Balbin Behrmann, R. de and Gonzalez, J.J.A., 1999. “Vie Quotidienne et Vie Religieuse. Les Sanctuaires dans l’Art Paleolithique/Daily Life and Religious Life. The Sanctuaries in the Paleolithic Art” in Anthropologie 103: 23–49, Moravské Muzeum, Brno, Czech Republic. ISSN: 0323-1119.

Europe. Paleolithic art.

SCI, RASNW3, Academia.edu, Biblio.

Balbín Behrmann, Rodrigo de and González Sainz, César, 2000. “Revisión de las Representaciones Rupestres Paleolíticas de la Cueva de La Pasiega en el Conjunto del Monte Castillo: Topografía y Documentación Artística” in Actuaciones Arqueológicas en Cantabria 1984–1999, Roberto Ontañón Peredo, coord., 69–74, Consejería de Cultura, Turismo y Deporte, Gobierno de Cantabria, ISBN: 84-87616-48-8.

La Pasiega, Castillo, Spain. Europe. Paleolithic art.

Dialnet.

Baldellou, Vicente, 1987 (April 1). “Arte Rupestre en la Region Pirenaica” in Arte Rupestre en Espana Revista de Arqueologia, 66–77, Zugarto Ediciones, Madrid, Spain. ISSN: 0212-0062.

Pyrenees, Spain. Europe. Paleolithic art.

LMRAA, BARAMP.

Baldellou, Vicente, 2006. “El Arte Rupestre Prehistórico” in Comarca de Somontano de Barbastro Vol. 21: Colección Territorio, 55-66, Gobierno de Aragón, Zaragoza, Spain.

http://www.aragon.es/estaticos/GobiernoAragon/Departamentos/PoliticaTerritorialJusticiaInterior/Documentos/docs/Areas/Informaci%C3%B3n%20territorial/Publicaciones/Coleccion_Territorio/Comarca_Somontano_Barbastro/DOCUMENTOS_II-1_8E9F592F.pdf (accessed on 6 October 2015).

Comarca del Somontano de Barbastro, Spain. Europe. Paleolithic art. Levantine rock art. Schematic rock art.

Biblio.

Balout, Lionel, 1972. “Fidelite des Releves—Conservation des Originaux, Deux Problemes de l’Art Parietal Prehistorique” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 515–23, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

LMRAA.

Balter, M., 2012 (June 14). “Did Neanderthals Paint Early Cave Art?” in Science NOW, 2 pgs.

Europe. Paleolithic cave art. Neanderthal.

Biblio.

Bandi, G., 1978. “Le Problème des Rapports entre Archéologie, Zoologie et Ethologie dans la Domaine de l’Interprétation de l’Art Quaternaire” in Curso de Arte Rupestre Paleolítico 181–84, Universidad Internacional Menéndez Pelayo: Universidad de Zaragoza, ISBN: 84-600-1177-1.

Europe. Paleolithic art. Interpretation.

Dialnet.

Bandi, G., 1978. “L’Art Mobilier Magdalénien en Suisse” in Curso de Arte Rupestre Paleolítico, 185–94, Universidad Internacional Menéndez Pelayo: Universidad de Zaragoza, ISBN: 84-600-1177-1.

Switzerland. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian.

Dialnet.

Bandi, H.-G., 1964. “Einige Ueberlegungen zur Frage der Datierung und des Usprungs der Levantekunst” in Prehistoric Art of the Western Mediterranean and the Sahara Viking Fund Publications in Anthropology, 112–17, Wenner-Gren Foundation for Anthropological Research, New York, New York.

Levantine, Spain. Europe. Paleolithic art. Mesolithic. Neolithic. Chronology.

LMRAA.

Bandi, H.-G., 1968. “Art Quaternaire et Zoologie” in Simposio Internacional de Arte Rupestre, Barcelona, 1966, E. Ripoll Perello, ed., 12–19, Diputacion Provincial de Barcelona, Instituto de Prehistoria y Arqueologia, Barcelona, Spain.

Europe. Mammoth, bear, reindeer, animal motif(s). Paleolithic art. Depiction of species, sex, behavior.

LMRAA.

Bandi, H.-G., 1972. “Quelques Reflexions sur la Nouvelle Hypothese de A. Leroi-Gourhan Concernant la Signification de l’Art Quaternaire” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 309–319, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Europe. Paleolithic cave art.

LMRAA.

Bandi, Hans-Georg, 1986–1987. “Les Animaux dans l’Art Prehistorique” in I Congreso Internacional de Arte Rupestre, Caspe, Zaragoza, 1986–1987 Bajo Aragón, Prehistoria 7–8: 85–90, Grupo Cultural Caspolino, ISSN: 0210-6132.

Europe. Cave bear, mammoth, deer, animal motif(s). Paleolithic art.

Dialnet, LMRAA.

Baptista, Antonio Martinho, 1999. No Tempo sem Tempo. A Arte Dos Cacadores Paleoliticos do Vale do Coa, 186 pgs, Parque Arqueologico Vale do Coa, Vila Nova, Foz Coa.

Coa Valley, Portugal. Europe. Open air paleolithic rock art.

Biblio, EPA, ICOMOS.

Baptista, António Martinho, 1999. “O Ciclo Artístico Quaternário do Vale do Côa: Com Algumas Consideraçoes de Método sobre Estilos, Valoraçao Estética e Crono-Estratigrafia Figurativa” in Arkeos, Perspectivas em Dialogo 6: 197–278, Centro Europeu de Investigaçao da Pré-História do Alto Ribatejo (CEIPHAR), Tomar, Portugal. ISSN: 0873-593X.

Coa Valley, Portugal. Europe. Paleolithic art. Style. Aesthetics. Chronology. Stratigraphy.

Dialnet.

Baptista, Antonio Martinho, 2000. “The Coa Valley Rock Art” in Adoranten 2000, 17–32, Scandinavian Society for Prehistoric Art, Underslös, Sweden. ISSN: 0349-8808.

Coa Valley, Portugal. Europe. Paleolithic art. Open air. Also Iron Age art.

LMRAA.

Baptista, A. Martinho, 2001. “Ocreza (Envendos, Macao, Portugal Central): Un Novo Sitio com Arte Paleolitica de Ar Livre” in Arkeos, Perspectivas em Dialogo 11: 163–92, Centro Europeu de Investigaçao da Pré-História do Alto Ribatejo (CEIPHAR), Tomar, Portugal. ISSN: 0873-593X.

Ocreza, Envendos, Macao, Central Portugal. Europe. Paleolithic art. Open air sites.

RASNW3.

Baptista, A. Martinho, 2004. “Arte Paleolitica de Ar Livre no Rio Zezere (Barroca, Fundao)” in Eburobriga Fundao 1: 8–16.

Rio Zezere, Barroca, Fundao, Portugal. Europe. Paleolithic art. Open air sites.

RASNW3, Biblio.

Baptista, Antonio Martinho, 2008. “Aspectos da Arte Magdalenense e Tardiglaciar no Vale do Coa” in Do Paleolitoco a Contemporaneidade. Estudos sobre a Historia da Ocupacao Humana em Tras-os-Montes, Alto Douro e Beira Interior. Forum Valorizacao e Promocao do Patrimonio Regional, Actas das Sessoes, Vol. 3: 16–31.

Coa Valley, Portugal. Europe. Paleolithic art. Magdalenian.

Biblio.

Baptista, António Martinho, 2009. O Paradigma Perdido. O Vale do Côa e a Arte Paleolítica de Ar Livre em Portugal, 253 pgs, Vila Nova de Foz Côa: Edições Afrontamento, Parque Arqueológico do Vale do Côa.

Coa Valley, Portugal. Europe. Paleolithic art in the open air.

Biblio, RASNW4.

Baptista, Antonio Martinho, Balbín Behrmann Rodrigo de, Fernández, Juan José, Santos, A., Alcolea González, Javier, Burón, M., Escudero, C., Macarro, C., González, J., Benito, J.P., Sanz, A., Tabernero, C., 2013. “La Documentación de Grabados Paleolíticos al Aire Libre como Apoyo a una Gestión Compleja: Una Propuesta de Côa (Portugal) y Siega Verde (Salamanca, España)” in Cuadernos de Arte Rupestre 6:103–12, Centro de Interpretacion de Arte Rupestre de Moratalla, Murcia, Spain. ISSN: 1699-0889.

http://www.cuadernosdearterupestre.es/index.php/cuadernos_rupestre/article/view/30 (accessed on 26 January 2014).

Coa Valley, Portugal. Siega Verde, Spain. Europe. Documentation. Recording methodology. Paleolithic art. Cultural resource management. Conservation and preservation. UNESCO World Heritage List nominations.

Abstract: “Desde hace años se viene colaborando entre los gestores de los sitos del Côa y Siega Verde que en la actualidad optan a una misma y única clasificación como Patrimonio Mundial por la UNESCO. Solventada la primera fase de la investigación y difusión de ambos conjuntos, se hace necesario plantear nuevas acciones encaminadas a la conservación y gestión de estos sitios al aire libre, por lo que se requiere de una documentación de mayor precisión, que permita su revisión y facilite la diagnosis y seguimiento de la evolución de los grabados. Se hace un somero repaso de los métodos de reproducción y se plantean las posibilidades que ofrecen las metodologías más modernas que deben ir asociadas al desarrollo de bases de datos relacionables.”

Internet.

Baptista, Antonio Martinho and Batarda Fernandes, Antonio Pedro, 2007. “Rock Art and the Coa Valley Archaeological Park: A Case Study in the Preservation of Portugal’s Prehistoric Parietal Heritage” in Palaeolithic Cave Art at Creswell Crags in European Context, Paul Pettitt, Paul Bahn and Sergio Ripoll, eds., 263–79, Oxford University Press, Oxford, England. ISBN: 978-0-19-929917-1.

Coa Valley, Portugal. Europe. Paleolithic open air art. Cultural resource management. Conservation and preservation.

LMRAA.

Baptista, Antonio Martinho and Garcia Diez, Marcos, 2002. “L’Art Paleolithique dans la Vallee du Coa (Portugal). La Symbolique dans l’Organisation d’un Sanctuaire de Plein Air” in L’Art Paleolithique a l’Air Libre. Le Paysage Modifie par l’Image, Tautavel—Campome, 7–9 Octobre 1999, D. Sacchi, ed., 187–206, GAEP and GEOPRE, Carcassonne. ISBN: 2-9518735-0-6.

Fariseu, Coa Valley, Portugal. Europe. Paleolithic art. Open air rock art sites. Gravettian. Soulutrean. Spatial analysis. Landscape setting.

Internet, LMRAA.

Baptista, A.M. and Reis, M., 2008. “Prospecção da Arte Rupestre na Foz do Côa: Da Iconografia do Paleolítico à do Nosso Tempo, com Passagem Pela II Idade do Ferro” in Pré-história: Gestos Intemporais, Vila Nova de Foz Côa, 20 de Maio de 2006, ACDR Freixo de Numão [Actas das Sessões do III Congresso de Arqueologia de Trás-os-Montes, Alto Douro e Beira Interio, A. T. Santos & J. Sampaio, eds. III Congresso de Arqueologia de Trás-os-Montes, Alto Douro e Beira Interior: Actas das sessões, Vol. 1:62–95, ACDR de Freixo de Numão, Porto, Portugal. ISBN: 978-972-99799-3-4.

Foz Coa, Portugal. Europe. Open air Paleolithic art.

Biblio.

Baptista, A.M. and Reis, M., 2011. “A Rocha Gravada de Redor do Porco. Um Novo Sitio com Arte Paleolitica de Ar Livre no Rio Agueda (Escalhão, Figueira de Castelo Rodrigo)” in Côavisão (Cultura e Ciência) 13: 15–20.

Rio Agueda, Escalhão, Figueira de Castelo Rodrigo, Portugal. Europe. Paleolithic art. Open air.

Biblio.

Baptista, A.M., Santos, A.T. Correia, D., 2006. “Da Ambiguidade das Margens na Grande Arte de Ar Livre no Vale do Coa. Reflexoes em torno da Organizacao Espacial do Santurario Gravetto-Solutrense na Estacao da Pensacosa/Quinta da Barca” in Côavisão (Cultura e Ciência) 8: 156–84.

Vale do Côa, Quinta da Barca, Portugal. Europe. Paleolithic art. Gravettian. Solutrean.

Biblio.

Baptista, António Martinho Santos, André Tomás, 2008. “Estruturação Simbólica da Arte Gravetto-Solutrense em torno do Monte do Fariseu (Vale do Côa)” in Pré-história: Gestos Intemporais, Vila Nova de Foz Côa, 20 de Maio de 2006, ACDR Freixo de Numão [Actas das Sessões do III Congresso de Arqueologia de Trás-os-Montes, Alto Douro e Beira Interio, A. T. Santos & J. Sampaio, eds. III Congresso de Arqueologia de Trás-os-Montes, Alto Douro e Beira Interior: Actas das sessões, Vol. 1: 38–61, ACDR de Freixo de Numão, Porto, Portugal. ISBN: 978-972-99799-3-4.

Fariseu, Foz Coa, Portugal. Europe. Paleolithic art. Gravettian. Solutrean.

Abstract: “O sopé do monte do Fariseu, na margem esquerda do Vale do Côa, é pontuado por três importantes estações com gravuras na sua generalidade da fase antiga da Arte do Côa e cuja cronologia poderá remontar ao período Gravettense e/ou Gravetto-Solutrense: Piscos, Fariseue Vale Figueira. Os três sítios parecem relacionar-se de maneira diferenciada com o relevo envolvente cujo sopé bordejam e numa clara ligação à linha de água. O objectivo desta comunicação, dando continuidade à análise similar já desenvolvida para os sítios da Penascosa/Quinta da Barca (mais a montante e também no Vale do Côa) é tentar perceber de que forma este facto terá condicionado o ordenamento do repertório figurativo dos diferentes sítios, assim como a sua relevância social nos períodos supracitados.”

Academia.edu.

Baptista, António Martinho Santos, André Tomás and Correia, Dalila, 2008. “O Santuário Arcaico do Vale do Côa: Novas Pistas para a Compreensao da Estruturaçao do Bestiário Gravettense e/ou Gravetto-Solutrense” in Arte Prehistórico al Aire Libre en el Sur de Europa, Rodrigo Balbin Behrmann, ed., 89–144, Junta de Castilla y León, Consejería de Cultura y Turismo, Salamanca, Spain. ISBN: 978-84-9718-592-9.

Vale do Côa, Portugal. Europe. Paleolithic art. Gravettian. Solutrean. Bestiary. Animal motif(s).

Dialnet, LMRAA.

Bar-Oz, Guy and Lev-Yadun, Simcha, 2012 (May 15). “Paleolithic Cave Rock Art, Animal Coloration, and Specific Animal Habitats” in Proceedings of the National Academy of Sciences of the United States of America 109(20).

http://www.pnas.org/content/109/20/E1212.full (accessed on 29 September 2013).

Pech Merle, Chauvet, Lascaux, France. Europe. Horse coat color motif(s). Genetics. Paleolithic art.

GoogleSearch.

Barandiarán Maestu, Ignacio, 1969. “Representaciones de Renos en el Arte Paleolítico Español” in Pyrenae: Revista de Prehistòria i Antiguitat de la Mediterrània Occidental 5: 1–34, Departamento de Prehistoria, Historia Antigua y Arqueología de la Universidad de Barcelona, ISSN: 0079-8215.

Spain. Europe. Paleolithic art. Reindeer motif(s).

Dialnet.

Barandiaran, Ignacio, 1972. “Algunas Convenciones de Representacion en las Figuras Animales del Arte Paleoitico” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 345–384, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Perigord. Pyrenees. France. Spain. Europe. Paleolithic art. Animal, fish, horse motif(s). Style. Conventional representations.

LMRAA, PAPPM.

Barandiaran, Ignacio, 1972. Arte Mueble del Paleolitico Cantabrico Monografias Arqueologicas, 369 pgs, Universidad de Zaragoza.

Cantabria, Spain. Paleolithic art. Mobiliary (portable) art.

Biblio.

Barandiaran, I., 1974. “El Gloton (Gulo Gulo L.) en el Arte Paleolitico” in Zephyrus: Revista de Prehistoria y Arqueología 25: 177–91, Universidad de Salamanca, ISSN: 0514-7336.

Europe. Paleolithic art. Wolverine motif(s).

Biblio.

Barandiaran, I., 1974. “Arte Paleolitico en Navarra”in Principe de Navarra 134/135: 9–47.

Navarra, Spain. Europe. Paleolithic art.

Biblio.

Barandiarán Maestu, Ignacio, 1984. “Signos Asociados a Hocicos de Animales en el Arte Paleolítico” in Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas 1: 7–24, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

Europe. Paleolithic art. Signs associated with animal snouts motif(s).

Dialnet.

Barandiarán Maestu, Ignacio, 1984. “Utilización del Espacio y Proceso Gráfico en el Arte Mueble Paleolítico” in Francisco Jordá: Oblata: Scripta Praehistorica, Francisco Javier Fortea Pérez, coord., 113–62, Universidad de Salamanca, Ediciones Universidad de Salamanca, ISBN: 84-7481-305-0.

Europe. Paleolithic art. mobiliary (portable)

Dialnet.

Barandiarán Maestu, Ignacio, 1987. “Algunos Temas no Figurativos del Arte Mueble Prehistórico: (a Propósito de las Placas Grabadas de La Cocina)” in Archivo de Prehistoria Levantina 17: 59–79, Museo de Preshistoria Valencia, Valencia, Spain. ISSN: 0210-3230.

La Cocina, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaques.

Dialnet, BARAMP.

Barandiaran, I., 1988. “Datation C14 de l’Art Mobilier Magdalenien Cantabrique” in Bulletin de la Société Préhistorique Ariège-Pyrénées 43: 63–84, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Cantabria, Spain. Europe. Paleolithic art. Magalenien. Mobiliary (portable) art. C14 direct dating.

IIA.

Barandiaran Maestu, Ignacio, 1989. “Constantes y Variabilidad de Arte Portatil Magdaleniense en el Verteinte Cantabrica” in Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas 5: 45–61, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN 0213-2095.

Cantabria, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art.

Biblio.

Barandiarán Maestu, Ignacio, 1994. “Arte Mueble del Paleolítico Cantábricouna: Una Visión de Síntesis en 1994” in Ejemplar Dedicado a: Arte Paleolítico Complutum 5: 45–79, Universidad Complutense: Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164321 (accessed on 29 November 2011).

Cantabria, Spain. Europe. Paleolithic art. Mobiliary (portable) art.

Abstract: “This paper offers a global perspective on Upper Palaeolithic mobiliar art of Cantabrian Spain. Formal and technical features are analysed, as well as the different styles and their geographical distribution. Finally, the author underlines tite problems and perspectives that affect studies on portable art.”

Dialnet.

Barandiarán Maestu, Ignacio, 1995. “La Datación de la Gráfica Rupestre de Apariencia Paleolítica: Un Siglo de Conjeturas y Datos” in Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas 12: 7–48, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

Europe. Paleolithic art. Dating.

Abstract: “Il y a un siècle, les grottes d’Altamira et de La Mouthe suscitaient les premiers débats d’authentification de l’art rupestre et leur attribution au Paléolithique. L’auteur présente ici plusieurs cas récents qui alimentent diverses hypothèses de datation de peintures et de gravures rupestres sorties de leur contexte (sans cadre stratigraphique pouvant soutenir une éventuelle datation directe). Les nouvelles perspectives de datation de ces années 90, permettront selon lui, de préciser, voire de rénover, les arguments d’authentification de l’art rupestre préhistorique.”

Dialnet, Refdoc.fr.

Barandiaran, Ignacio, 2006. Imagenes y Adornos en el Arte Portatil Paleolitico, 230 pgs, Editorial Ariel, Barcelona, Spain. ISBN-10: 8434452049 ISBN-13: 978-8434452046.

Europe. Mobiliary (portable) art. Paleolithic art.

Abstract: “Las primeras manifestaciones gráficas en la Historia del Arte se expresan suficientemente en el imaginario del Arte Rupestre (en paredes de cuevas o en rocas de aire libre) del Sudoeste europeo. Menos conocidas son muchas otras obras de menor tamaño (el Arte Mobiliar o portátil), encontradas en excavaciones arqueológicas de numerosos yacimientos europeos y en su extensión hasta Siberia. En buena parte de este efectivo de obras en diversos materiales se despliega un completo repertorio de imágenes de lo real y de temas esquematizados, así como un rico efectivo de elementos de adorno personal. Se datan circa 35000 a 10500 años antes de ahora. Las reflexiones de este libro sobre el imaginario portátil pretenden una aproximación al gusto, la sensibilidad y la capacidad de abstracción de las gentes del Paleolítico superior. En sus capítulos se despliega un discurso conjunto sobre este arte: su percepción por los prehistoriadores; la relación entre los soportes y la temática; la unidad y las variantes (regiones, etapas o destinos) del repertorio; los protocolos de ejecución de la obra y las actitudes de sus autores; el significado de sus agrupaciones (¿existen talleres o santuarios?) y de los diversos niveles de intertextualidad de la documentación. Se aporta un repaso crítico de la problemática, aportando reflexiones propias sobre el heterogéneo repertorio de manifestaciones gráficas de pequeño tamaño. El arte mobiliar paleolítico se plantea como dilema de la Cultura prehistórica entre lo superfluo y lo útil: ¿simplemente práctico, dedicado a un divertimento o de destino más trascendente?.”

RASNW4, Internet.

Barandiarán Maestu, Ignacio, 2008. “El Reconocimiento del Arte Mobiliar Cantábrico: La Aportación de H. Alcalde del Rio” in Espacio, Tiempo y Forma. Serie I, Prehistoria y Arqueología 1: 167–80, Universidad Nacional de Educación a Distancia (UNED): Facultad de Geografía e Historia, ISSN: 1131-7698.

http://www.journals4free.com/link.jsp?l=38273930 (accessed on 9 May 2016).

Cantabria, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Alcalde del Rio. Aurignacian.

Abstract: “We introduce the earliest recognition of Cantabrian portable art by H. Alcalde del Río: the very important art pieces retrieved at his excavations at the caves of Altamira (1904) and Hornos de la Peña (alongwith J. Bouyssonie, H. Breuil y H. Obermaier, in 1909–1910). Their interpretations (published in 1906 and 1911 by Alcalde del Río and H. Breuil) in order to fix the relationships between portable and rock art are analysed: the closed signs (tectiformes); the hind figures of multiple engravings; and the “aurignacian” style.”

Dialnet, Biblio, Internet.

Barandiarán Maestu, Ignacio and Laplace, Georges, 2000. “Temas, Espacio Decorativo y Composición: dos Compresores Magdalenienses de Poeymaü (Pyrénées Atlantiques)” in Salduie: Estudios de Prehistoria y Arqueología 1: 9–36, Universidad de Zaragoza: Departamento de Ciencias de la Antigüedad, ISSN: 1576-6454.

http://dialnet.unirioja.es/servlet/articulo?codigo=242296 (accessed on 26 January 2012).

Poeymaü, Atlantic Pyrenees, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art. Engraved cobbles. Horse motif(s).

Dialnet.

Barandiaran, José Miguel de, 1949. “Caballo Grabado de Ermittia” in Munibe 1(1): 3–4, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/1949003004.pdf (accessed on 26 November 2011).

Cueva de Ermittia, Guipuzcoa, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Horse motif(s).

Internet.

Barandiaran, J.M. de, 1971. “Hueso con Grabados Paleolíticos, en Torre (Oyarzun, Guipúzcoa)” in Munibe 23: 37–69, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/1971037069.pdf (accessed on 26 November 2011).

Torre, Oyarzun, Guipúzcoa, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone.

Internet.

Barbaza, Michel, Fritz, Carole and Pomies, Marie-Pierre, 1998. “Une Pendeloque Gravée Azilienne dans la Grotte de Troubat (Hautes-Pyrénées)” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique Ariège-Pyrénées 53: 141–174, Société Préhistorique de l’Ariège, Tarascon-sur-Ariége, France. ISSN: 0245-9523.

Moulin Cave, Troubat, Hautes-Pyrénées, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone.

SARS, Internet.

Barbaza, Michel and Pomies, Marie-Pierre, 1999. “Dispositif Parietal du Reseau “Raymond Bonnet” (Grotte du Moulin a Troubat; Hautes-Pyrenees)” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 54: 127–140, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Reseau “Raymond Bonnet”, Grotte du Moulin a Troubat; Hautes-Pyrenees, France, Europe. Paleolithic art.

Internet.

Barfield, L. and C. Chippendale, 1997. “Meaning in the Later Paleolithic Rock Engravings of Mont Bego, Alpes- Maritimes, France” in Proceedings of the Prehistoric Society 63: 103–28, The Prehistoric Society, London, England. ISSN: 0079-497X.

Mont Bego, Alpes Maritimes, France. Italy. Europe. Paleolithic rock engravings. Dagger, halberd, weapon, plough, cattle, map motif(s).

Abstract: “The later prehistoric rock-engravings of Mont Bégo, in the Maritime Alps on the French-Italian border, provide a rare possibility of grasping the meaning of a group in prehistoric art. Two elements in their limited repertoire of forms are daggers and halberds, which also occur as physical objects or as images in the contemporary sites of adjacent north Italy; their contexts show they are, in that area, associated with the status of adult males in society. That same interpretation is applied to the Mont Bégo figures, and this is found congruent with other motifs - especially ploughs and cattle - in the repertoire. It may explain also the other common motif, a geometrical form interpreted as a map of a prehistoric farmstead, by associating it with plough agriculture and land division. The insights developed from the study for what ‘meaning’ amounts to in the study of prehistory are set down.”

Biblio, AL@RLG, Refdoc.fr.

Barich, Barbara E, 1998 (November). “Fishing in the Sahara” in Rock Art Research 15: 135. Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

EL-HOSH, EDFU, NILE RIVER VALLEY, EGYPT. NORTH AFRICA. PALEOLITHIC. FISH TRAP. COMMENT ON HUYGE, RAR, 15(1): 3–11.

LMRAA.

Barriere, Claude, 1971. “Les Techniques de la Gravure a Roufignac” in Travaux de l’Institut d’Art Prehistorique XII: 11–53. Universite des Letres, Toulouse, France.

Roufignac, France. Europe. Paleolithic art.

APGODQ.

Barriere, Cl, 1973. “Les Gravures en Trace Digital de la Grotte de Gargas” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 28: 79–102. Societe Prehistorique de l’Ariege, Toulouse, France.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Finger fluting.

LMRAA.

Barriere, Cl, 1976. L’Art Parietal de la Grotte de Gargas/Paleolithic Art in the Grotte de Gargas British Archaeological Reports (BAR) International Series (Memoires de l’Institut d’Art Prehistorique de Toulouse no. III), 2 vols. (14(i)): 409 pgs, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 10: 0904531473 / 0-904531-47-3, ISBN: 13: 9780904531473.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Hand stencil, mutilation, deformation motif(s). In French and English.

Biblio, APGODQ, LMRAA (vol. 1).

Barriere, C, 1980. “Les Associations de Figures dans l’Art Pariétal de Rouffignac (Dordogne)” in Bulletin de la Societe Etudes et de Recherches Prehistoriques des Eyzies (30): 15–18, Societe Etudes et de Recherches Prehistoriques des Eyzies, Les Eyzies, France. ISSN: 0249-7638.

Rouffinac, Dordogne, France. Europe. Paleolithic art.

Internet.

Barrière, Claude, 1980. “Nouvelles Gravures Rupestres de l’Oued Djerat (N. Tassili)” in Bulletin de la Société Préhistorique Française 77: 269–76. Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1980_num_77_9_5279 (accessed on 10 October 2011).

Rouffignac, France. Europe. Paleolithic art. Mammoth, horse, goat motif(s).

Persee.

Barriere, C, 1982. L’Art Parietal de Rouffignac (Memoire no IV de l’Institut d’Art Prehistorique de Toulouse. 207 pgs, Fondation Singer-Polignac, Paris, France. ISBN: 10: 2900927102/ISBN: 13: 9782900927106.

Rouffignac Cave, Vezere River Valley, France. Europe. Paleolithic cave art.

Biblio.

Barriere, C, 1983. “Le Theme du Serpent a Rouffignac” in International Symposium of the Intellectual Expressions of Prehistoric Man: Art and Religion, Valcamonica, 28 July–3 August 1979, pp. 323–330, Jaca Book and Centro Camuno di Studi Preistorici, Milan and Capo di Ponte, Italy.

Rouffignac Cave, Vezere River Valley, France. Europe. Paleolithic art. Snake (serpent) motif(s).

ICOMOS, IAAL.

Barriere, C, 1984. “Grotte des Combarelles” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises. Edited by A. Leroi-Gourhan. Paris: Ministere de la Culture: Imprimerie Nationale, pp. 109–13. ISBN-10: 2110808179, ISBN-13: 978-2110808172.

Combarelles, Dordogne, Les Eyzies-de-Tayac, Sireuil, France. Europe. Paleolithic cave art.

UVAP, LMRAA.

Barriere, Claude, 1984. “Grotte de Gargas” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises. Edited by A. Leroi-Gourhan. Paris: Ministere de la Culture: Imprimerie Nationale, pp. 514–22. ISBN-10: 2110808179, ISBN-13: 978-2110808172.

Grotte de Gargas, Midi-Pyrenees, Haute-Pyrenees, Aventignan, France. Europe. Paleolithic cave art. Horse, mammoth, deer (cervid), bison, finger fluting motif(s).

LMRAA.

Barriere, Claude, 1984. “Grotte de Rouffignac” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises. Edited by A. Leroi-Gourhan. Paris: Ministere de la Culture: Imprimerie Nationale, pp. 201–7. ISBN-10: 2110808179, ISBN-13: 978-2110808172.

Grotte de Rouffignac, Aquitaine, Dordogne, France. Europe. Paleolithic cave art. Mammoth, finger fluting, horse motif(s).

LMRAA.

Barriere, C, 1989. “De la Datation de l’Art Parietal Prehistorique” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 111–13, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Europe. Prehistoric art. Paleolithic art. Dating. With discussion by M. Archambeau, J. Clottes, C. Rarriere, H. Delporte, G. Maziere, F. Soleilhavoup, and D. de Sonneville-Bordes.

LMRAA.

Barrière, Claude, 1993. “Les Bovidés” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude. 109–122, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Bovid, auroch, bison, musk ox figure motif(s).

Biblio, LMRAA.

Barrière, Claude, 1993. “Les Proboscidiens” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude. 151–56, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Mammoth figure motif(s).

Biblio, LMRAA.

Barrière, Claude, 1993. “Les Rhinocérotidés” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude. 157–59, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Rhinocerus figure motif(s).

Biblio, LMRAA.

Barrière, Claude, 1993. “Les Carnivores” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude. 165–71, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Carnivore, bear, feline, canine, hyena figure motif(s).

Biblio, LMRAA.

Barrière, Claude, 1993. “Les Reptiles” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude. 191–92, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Reptile, snake (serpent) figure motif(s).

Biblio, LMRAA.

Barrière, Claude, 1993. “La Sculpture et le Moulage” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude. 275–80, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Sculpting and molding techniques.

Biblio, LMRAA.

Barriere, C, 1997. L’Art Parietal des Grottes des Combarelles. 613 pgs, Samra/Paleo, Les-Eyzies-de-Tayac, France. ISBN: 2911233034 / 2-911233-03-4.

Combarelles, Les-Eyzies-de Tayac, Perigord, France. Europe. Paleolithic cave art. The culmination of twelve years of work tracing the engravings in the two caves.

Biblio, APGODQ

Barrière, Claude, 1997. “Montage à 1/12 GN” in L’Art Pariétal des Grottes des Combarelles, Paléo, Revue d’Archéologie Préhistorique vol. 1(H-S): 29–89, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1997_hos_1_1_1529 (accessed on 19 November 2011).

Combarelles, Les Eyzies, Dordogne, France. Europe. Paleolithic art. Inventory of images.

Persee.

Barrière, Claude, 1997. “Généralités” in L’Art Pariétal des Grottes des Combarelles, Paléo, Revue d’Archéologie Préhistorique vol. 1(H-S):11–28, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1997_hos_1_1_1521 (accessed on 19 November 2011).

Combarelles, Les Eyzies, Dordogne, France. Europe. Paleolithic art. Map. Contextural photos of the cave.

Persee.

Barriere, C, 1998. “Les Combarelles I (Dordogne)” in Bulletin de la Societe Etudes et de Recherches Prehistoriques des Eyzies (48): 15–20, Societe Etudes et de Recherches Prehistoriques des Eyzies, Les Eyzies, France. ISSN: 0249-7638.

Combarelles I, Dordogne, France. Europe. Paleolithic art.

Internet.

Barton, C.M., Clark, G.A., and Cohen, A. 1994. “Art as Information: Explaining Upper Paleolithic Art in Western Europe” in World Archaeology 26: 185–207, Routledge & Kegan Paul, Ltd., London, England. ISSN: 0043-8243.

Western Europe. Upper Paleolithic art.

Biblio.

Barton, Gerald M., and Ronen, Avraham, 1981. “Rock Engravings on Western Mount Carmel, Israel” in Quartar. Jarbuch fur Erforschung des Eiszeitalters und der Steinzeit Bonn, vol. 31–32: 121-1–37.

http://www.quartaer.eu/pdfs/1981/1981_06_ronen.pdf (accessed on 28 January 2013).

Western Mount Carmel, Israel. Mideast. Simple pattern linear engraved motif(s). Nautufian. Neolithic. Pleistocene (paleolithic)—Holocene transition.

RASNW4, Internet.

Basedow, H, 1907. “Felsgravierungen Hohen Alters in Zentral-Australien” in Zeitschrift fur Ethnologie 39: 707–17, Dietrich Reimer Verlag GmbH, Berlin, Germany.

Central Australia. Aboriginal rock art. Pleistocene (paleolithic) rock art.

Biblio.

Bataille, Georges, n.d. The Great Centuries of Painting. Prehistoric Painting. Lascaux or the Birth of Art. 151 pgs, Skira, New York, New York.

Lascaux, Montignac, Dordogne, Perigord, southern France. Europe. ICE AGE ART. PALEOLITHIC ART. COLOR PHOTOGRAPH REPRODUCTIONS.

LMRAA, Melvyl (UCB Main: Call No: N5310 .B38:)

Batarda Fernandes, António, Reis, Mario, Escudero Remirez, Cristina and Vázquez Marcos, Carlos, 2017. “Integration of Natural Stone Features and Conservation of the Upper Palaeolithic Côa Valley and Siega Verde Open-Air Rock-Art” in Time and Mind: The Journal of Archaeology, Consciousness and Culture 10(3): 293–319, Routledge, Taylor & Francis, ISSN 1751-696X, Online ISSN: 1751-6978.

Côa Valley and Siega Verde, Portugal, Spain. Europe. Paleolithic art. Rock feature incorporation. Cultural resource management. Conservation and preservation.

Abstract: “This paper considers the established phenomenon of the integration of pre-existing natural features into Western European Upper Palaeolithic parietal imagery, aiming to present a preliminary inventory of such cases in the Côa Valley and Siega Verde rock-art sites. Attention is also given to other cases at these sites from which it can be inferred that areas of the engraved surfaces persisted since the original motifs were made until today in quite reasonable condition. It is concluded that the present research further emphasizes the complex traits behind the creation of Upper Palaeolithic artistic motifs in both the Portuguese and Spanish sites, and also suggests a reasonable preservation rate of Côa and Siega Verde rock-art.”

Worldcat.org.

Baudet, James L, 1950. “Les Peintures et Gravures Rupestres de l’Ile de France” in Congres Prehistorique de France, 13th Session, 132–40.

France, Europe. Paleolithic art.

Biblio.

Baudet, James L., 1950 (March 10). “Les Gravures, les Peintures Rupestres et les Enceintes Anciennes du Massif Stampien” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres 94: 90–97, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/doc/crai_0065-0536_1950_num_94_1_78504?q=art%20rupestre (accessed on 18 August 2017).

Stampien Massif, France. Europe. Paleolithic art. Petroglyphs, paintings and stone enclosures. Includes 2 figures.

Biblio, Persee.

Baudet, James L., 1951. “Les Figures Anthropomorphes de l’Art Rupestre de l’Ile de France” in Bulletin et Memoires de la Societe de Anthropologie de Paris 2: 56–66, Societe de Anthropologie de Paris.

France. Europe. Paleolithic art. Anthropomorph motif(s). Includes 6 figures.

ARP.

Baudet, James L., 1954. “Peinture Prehistorique Inedite Decouverte dans la Vallee de l’Essonne (Seine-et-Marne)” in Bulletin de la Société Préhistorique Française 51: 97–99, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1954_num_51_3_3069 (accessed on 15 October 2011).

Vallee de l’Essonne, Seine-et-Marne, France. Europe Paleolithic art.

Biblio, Persee.

Baudouin, Marcel, 1922. “Preuves Matérielles que les Cupules Représentent Bien des Astres” in Bulletin de la Société Préhistorique Française 19: 270–72, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1922_num_19_12_12033 (accessed on 18 August 2011).

France. Europe. Paleolithic art. Cupules. Planets (celetial bodies, astres).

Persee.

Baudouin, Marcel, 1923. “Les Cupules à l’Époque Moustérienne: Leur Signification” in Bulletin de la Société Préhistorique Française 20: 140–41, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1923_num_20_4_7415 (accessed on 18 October 2011).

France. Europe. Paleolithic art. Cupule motif(s). Archaeoastronomy.

Persee.

Baumann, Hans, 1954. The Caves of the Great Hunters. 158 pgs, Pantheon Books.

Lascaux, Montignac, Dordogne, France. Altamira, Spain. Europe. Juvenile literature. Describes the discoveries of paleolithic caves.

Melvyl (NRLF/UCB : Shelving Location // Children’s Lit. Coll. : Call No: B 4 088 270 : ).

Bayarri, V., Latova, J., Castillo, E., Lasheras, J. A., Las Heras, C. De and Prada, A., 2015. “Nueva Documentación y Estudio del Arte Empleando Técnicas Hiperespectrales en la Cueva de Altamira” in XIX International Rock Art Conference IFRAO 2015. Symbols in the Landscape: Rock Art and Its Context, H. Collado, J. J. García Arranz, eds. Arkeos, Perspectivas em Dialogo, vol. 37: 2293–308, Centro Europeu de Investigaçao da Pré-História do Alto Ribatejo (CEIPHAR), Tomar, Portugal. ISSN: 0873-593X.

Altamira, Cantabria. Spain. Europe. Paleolithic art.

Abstract: “Introducción: La cueva de Altamira está situada en Santillana del Mar, en el norte de España. Es uno de los ejemplos más representativos del arte paleolítico y es una referencia en la Historia del Arte. Fue la primera cueva en la que se describió lo que hoy llamamos arte rupestre, y por lo tanto el origen de otros descubrimientos de este tipo de expresión del hombre. Constituye uno de los ejemplos más relevantes de creación simbólica humana y está reconocida como uno de los hitos de la Prehistoria Mundial. Por todo ello, la cueva de Altamira está incluida en la Lista del Patrimonio Mundial desde 1985. El estudio de su arte rupestre es todavía parcial, y presenta cierta obsolescencia, en parte debido a una desigual documentación de su iconografía. El estudio del arte se ha centrado en el famoso Techo de los Policromos, vasto lienzo en el que los artistas pintaron durante más de 20.000 años. Sin embargo, Altamira cuenta con una gran cantidad de representaciones artísticas repartidas a lo largo de sus 290 metros de longitud, que no han sido estudiados en detalle y que, en muchos casos, nunca se han publicado. La conservación de la cueva de Altamira y sus representaciones artísticas requiere un inventario completo, su documentación técnica y la actualización del conocimiento de estas representaciones, mediante la aplicación de técnicas actualmente disponibles. Por tanto, se ha iniciado la revisión y actualización del catálogo de arte rupestre. El desarrollo del método y de los protocolos de trabajo se ha puesto a punto en varios paneles de la cueva. Material y métodos: Este artículo muestra los resultados obtenidos al aplicar los métodos más modernos de documentación basados en la fotogrametría y teledetección hiperespectral terrestre, junto con el análisis matemático de diferentes archivos digitales, que han proporcionado una nueva documentación de los conjuntos de arte parietal. Resultados: Se realiza un análisis histórico de las diferentes formas en que se ha documentado el Arte rupestre para tratar de entender la evolución que a lo largo del tiempo ha sufrido su comprensión, y ver cómo la evolución de los diferentes métodos de representación han hecho variar nuestra comprensión de estos signos y representaciones figurativas. Las cosas son como las representamos. Conclusión: La integración de algunos métodos geomáticos ha permitido documentar el arte rupestre de una manera rigurosa, segura y detallada. Estas técnicas ofrecen resultados 2D y 3D que se pueden utilizar en cualquier estudio. La nueva y cuantiosa cantidad de información puede cambiar la manera de entenderlos.”

Academia.edu, LMRAA (CDRom).

Bayol, Abbe, 1933. “La Grotte a Peintures de Collias (Gard), Dite Grotte Bayol” in Rhodania 226–60.

Bayol Cave, Collias, Gard, France. Europe. Paleolithic art. Includes 15 figures.

Biblio.

Beasley, B., 1986. “Les Bisons d’Argile de la Grotte du Tuc d’Audoubert” in Bulletin de la Société Préhistorique Ariège-Pyrénées 41: 23–30, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Tuc d’Audoubert, France. Europe. Paleolithic art. Bison motif(s). Clay sculpture.

IIA.

Beaumont, Peter B., and Bednarik, Robert G., 2010–2011. “A Brief Overview of Major Pleistocene Palaeoart Sites in Sub-Saharan Africa” in Symposium 2: L’Art Pléistocène en Afrique Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 92–93, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Sub-Saharan Africa. Pleistocene (paleolithic) art. Regional summary.

Abstract: “A literature survey shows that there are only seven sites in Africa south of the Sahara that have as yet produced multiple rock art objects of Pleistocene age, of which all are fortuitous, mobiliary finds, with the exception of the Chifubwa research in 1951. This sparse data-base does however provide evidence for figurative art by ~32.000 years ago at Apollo 11, of complex engravings in the 70.000–100.000 range at Blombos, of simple engraved patterns before 270.000 BP at Wonderwerk, and of c. 400.000-years-old cupules at Nchwaneng. Northern Cape occurrences before then consist only of specularite and haematite manuports that range back to c. 0.9 million year, which suggests that symbolism probably arose in sub-Saharan Africa with the slightly earlier advent of Homo rhodesiensis / archaic Homo sapiens.”

Dialnet.

Beaumont, Peter B, and Bednarik, Robert G., 2010–2011. “On a Search for Ancestral Rock Art in the South-Eastern Kalahari, South Africa” in Symposium 2: L’Art Pléistocène en Afrique Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 94–95, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Nchwaneng, Potholes Hoek and Klipbak 1, South-Eastern Kalahari, South Africa Paleolithic art. Cupules, cupule with outline circle motif(s).

Abstract: “Several petroglyph sites situated on the south-eastern margin of the Kalahari have been under study for the past decade. We report here on research at three localities there, Nchwaneng, Potholes Hoek and Klipbak 1. Age estimates, based on palaeoclimatic constraints, contiguous artefacts, and microerosion analysis, were used to construct a provisional timescale. In terms of this, the rock art is mainly attributable to the Later and Middle Stone Ages, but panels at two sites are linked to the earlier Fauresmith tradition. Pleistocene petroglyphs begin with cupules only and are followed by cupules and outline circles, while the Holocene panels also include noniconic, human and animal depictions. The survival of the extremely early petroglyphs in this region is primarily attributable to the local lithology, a very weather-resistant quartzite.”

Dialnet.

Beaumont, P., and Bednarik, R., 2012. “A Brief Overview of Pleistocene Palaeoart Sites in Sub-Saharan Africa” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI:Book: 92–93, CD: 541–548, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523, ISBN: 987-2-9531148-3-6.

Sub-Sahara, Africa. Paleolithic art.

Biblio, LMRAA.

Beaumont, Peter B., and Bednarik, Robert G., 2013 (May). “Tracing the Emergence of Palaeoart in Sub-Saharan Africa” in Rock Art Research 30: 33–54, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Sub-Saharan Africa. Pleistocene (Paleolithic). Pre-Holocene palaeoart. Mobiliary (portable) art. Beads. Pendants. Notched bone and red ochre. Incised lines, cupule, groove motif(s). Manuports.

LMRAA, RASNWV.

Beaune, S.A. de, 1996. “L’Art au Paléolithique Supérieur: Ephémère ou Durable?” in Antiquités Nationales 28: 135–38.

Europe. Paleolithic art.

Biblio.com

Beaune, Sophie A. de, 2004. “Un Atelier Magdalénien de Sculpture de la Stéatite au Rocher de la Caille (Loire)?” in L’Art du Paléolithique Supérieur. Actes des Colloques 8.2 et 8.3, XIVe Congrès de l’UISPP, Liège (2–8 Septembre 2001), M. Lejeune and A.-C. Welte, eds. Etudes et Recherches Archeologigues de l’Universite de Liege, ERAUL 107, Éditions Eraul, Universite de Liege, Liege, Belgium.

Rocher de la Caille, Loire, France. Europe. Paleolithic art. Mobiliary (portable) art. Steatite. Magdalenian.

Internet

Becares Perez, Julian, 1987 (April 1). “Arte Rupestre Prehistorico en La Meseta” in Arte Rupestre en Espana Revista de Arqueologia, 86–95, Zugarto Ediciones, Madrid, Spain. ISSN: 0212-0062.

La Meseta, Spain. Europe. Paleolithic art.

LMRAA.

Becarios del Laboratorio de Estudio Paleolíticos de la UNED, 1997. “Cueva de Maltravieso: Recuperación y Estudio de una Singular Estación Artística del Paleólitico Superior” in Revista de Arqueologia 18: 6–15, Zugarto Ediciones, Madrid, Spain. ISSN: 0212-0062.

Cueva de Maltravieso, Spain. Europe. Paleolithic art.

Dialnet.

Beck, L. et al. 2012. “Analyse in situ Dessins Prehitoriques de la Grotte de Rouffignac par Fluorescence X et Diffraction X Portable” in ArcheoScience 36: 139–52.

Rouffignac, Dordogne, France. Europe. Paleolithic art. Pigment analysis. PXRF.

Biblio.

Beck, Lucile et al. 2014. “Analyse Non Destructive des Pigments Prehistoriques de la Grotte au Laboratoire” in Les Arts de la Préhistoire: Micro-Analyses, Mises en Contextes et Conservation. Actes du Colloque « Micro-Analyses et Datations de l’Art Préhistorique dans son Contexte Archéologique », MADAPCA—Paris, 16–18 Novembre 2011 Paléo, Revue d’Archéologie Préhistorique, Numero Especial, vol. 25(Extra 2014): 63–74, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

Europe. Paleolithic art. Pigment analysis.

Internet.

Bednarik, Robert G., 1986 (May). “Parietal Finger Markings in Europe and Australia” in Rock Art Research 3: 30–61, 159–70, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Australia. Europe. Pech Merle, Baume Latrone, Gontran, Mount Gambier caves, Koonalda Cave, Perth caves, New Guinea 2. Pleistocene (paleolithic) cave art. Finger fluting marks. COMPARATIVE STUDY. COMMENTS BY: WHITNEY DAVIS, P.G. BAHN, DAVID R. MOORE, HUGH CAIRNS, and ALEXANDER GALLUS. INTERIM REPLY BY AUTHOR. FURTHER COMMENTS BY: ELERY HAMILTON-SMITH, JEAN CLOTTES, and PAUL FAULSTICH with REPLY BY AUTHOR in RAR VOL. 3 NO. 2, 1986. Cave art, finger flutings, petroglyphs, limestone caves.

LMRAA, AHCBS, Bancroft.

Bednarik, Robert G., 1989 (November). “The Galenberg Figurine from Krems, Austria” in Rock Art Research 6: 118–25, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

KREMS, AUSTRIA. EUROPE. UPPER PALEOLITHIC FEMALE FIGURINE. “VENUS OF GALENBERG”.

LMRAA

Bednarik, R.G., 1991 (July). “Asian Palaeoart and Eurocentric Science” in Purakala, Giriraj Kumar, ed., vol. 2(2): 71–76, Rock Art Society of India, Dayalbagh, Agra, India.

China, Asia. Rock art studies. Eurocentricity. Paleolithic decorated ostrich egg shell.

Biblio, LMRAA.

Bednarik, R.G., 1992. “Paleoart and Archaeological Myths” in Cambridge Archaeological Journal 2: 27–57, McDonald Institute for Archaeological Research, Cambridge, England. ISSN: 0959-7743.

EUROPE (?). PALEOLITHIC ART.

Biblio.

Bednarik, R.G., 1992. “A Forum of Principles and Practice: Challenge Posed by the Palaeolithic Art of Asia” in International Newsletter on Rock Art (2): 20–23, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora2/inora-2.pdf (accessed on 22 April 2017).

Asia. Pleistocene (paleolithic) cave art. Eurocentricity in rock art studies.

LMRAA (PHOTO COPY), AHCBS.

Bednarik, R.G., 1992. “The Paleolitic Art of Asia” in Ancient Images, Ancient Thoughts: The Archaeology of Ideology. Edited by S. Goldsmith, S. Garvie, D. Selin and J. Smith. Proceedings of the 23rd Annual Chacmool Conference, 383–90, Archaeological Association, University of Calgary, Canada.

INDIA. PALEOLITHIC ART.

Biblio.

Bednarik, Robert G., 1992. “Challenge Posed by the Palaeolithic Art of Asia” in International Newsletter on Rock Art (2): 20–23, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora2/inora-2.pdf (accessed on 22 April 2017).

Asia. Paleolithic art.

LMRAA (PHOTO COPY), Internet.

Bednarik, R.G., 1993. “Paleolithic Art in India” in Man and Environment 18: 33–40, Indian Society for Prehistoric and Quaternary Studies, Pune, India. ISSN: 2058-0446.

INDIA. PALEOLITHIC ART.

Biblio.

Bednarik, Robert G., 1993. “Who’re We Gonna Call? The Bias Busters” in Rock Art Studies: The Post-Stylistic Era or Where Do We Go from Here, Michel Lorblanchet and Paul G. Bahn, eds. Oxbow Monograph, (35): 207–11, Oxbow Books, Oxford, England.

RESEARCH METHODOLOGY. AUTHOR EXAMINES THE EFFECTS OF EUROCENTRICITY IN THE INTERPRETATION OF EURASIAN PALEOLITHIC ART.

LMRAA.

Bednarik, Robert G., 1993. “The Cave Art of Australia” in American Indian Rock Art, Santa Barbara, California, vol. XII: 81–87, American Rock Art Research Association, San Miguel, California.

Mt. Gambier, southern South Australia. Pleistocene (paleolithic) cave art. Parietal finger fluting marks.

LMRAA.

Bednarik, Robert G., 1993. “Pleistocene Animal Depiction in Asia” in International Newsletter on Rock Art (6): 2–6, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora6/inora-6.pdf (accessed on 22 April 2017).

Asia. Woolly Mammoth motif(s). Pleistocene (paleolithic) art.

LMRAA (PHOTO COPY).

Bednarik, Robert G., 1993. “European Palaeolithic Art—Typical or Exceptional?” in Oxford Journal of Archaeology 12: 1–8, Blackwell Publishing, Ltd., Online ISSN: 1468-0092.

http://onlinelibrary.wiley.com/doi/10.1111/j.1468-0092.1993.tb00277.x/abstract (accessed on 23 August 2011).

Europe. China. Asia. Paleolithic art.

Abstract: “The recent discovery of the first Palaeolithic art object from China is discussed in the context of relevant Chinese and other Asian evidence, and considered within the framework of current models of very early art evolution as they pertain to Eurasia. It appears that these are biased in favour of selective evidence from western Europe, by ignoring that in most regions where Pleistocene art exists it is largely, if not entirely, non-figurative. It is also argued that any present distributional, statistical and compositional characteristics of the surviving evidence must not be considered to have cultural significance, unless there is clear evidence to that effect.”

Internet, IAAL.

Bednarik, R.G., 1994. “Conceptual Pitfalls in Dating of Palaeolithic Rock Art” in Préhistoire Anthropologie Méditerranéennes 3: 95–102, Laboratoire d’Anthropologie et de Prehistoire des Pays de la Mediterranee Occidentale, Universite de Provence, Aix-en-Provence, France. ISSN: 1167-492X.

Research methodology. Direct dating. Paleolithic.

Abstract: “La datation directe de l’art pariétal a considérablement fait progresser les recherches en art paléolithique. Toutefois, la méthodologie en cours est encore à ses débuts. Cet article présente quelques exemples, du sud de la France en particulier, pour lesquels les résultats de la datation directe ont été employés à une interprétation traditionelle sur des données scientifiques mal comprises. Quelques-uns des pièges possibles, et les limites des techniques couramment utilisées, sont ici expliqués afin d’inciter à une plus grande rigueur epistémologique lors de l’interprétation des résultats physico-chimiques.”

Biblio, MWRBRAD, Refdoc.fr.

Bednarik, Robert G., 1994. “The Pleistocene Art of Asia” in Journal of World History 8: 351–75.

Asia. Pleistocene (paleolithic) cave art

Biblio.

Bednarik, Robert G., 1994. “The Oldest Art in the World” in Espacio, Tiempo y Forma. Serie I, Prehistoria y Arqueología 7: 75–92, Universidad Nacional de Educación a Distancia (UNED): Facultad de Geografía e Historia, ISSN: 1131-7698.

World. Paleoart. Dating. Pleistocene. Paleolithic.

Dialnet.

Bednarik, Robert G., 1994 (April). “Delusions of Cave Art” in AURA Newsletter 11: 2, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-2666.

DOMINGO GARCIA, MESETA REGION, SPAIN. EUROPE. OPEN AIR PALEOLITHIC ENGRAVING SITE REPORTED.

LMRAA.

Bednarik, R.G., 1995. “Concept-Mediated Marking in the Lower Palaeolithic” in Current Anthropology 36: 605–34, Wenner-Gren Foundation for Anthropological Research, ISSN: 00113204, 15375382.

AUTHOR ARGUES FOR AN EVOLUTIONARY CONTEXT FOR THE DEVELOPMENT OF HUMAN-MADE, INTENTIONAL MARKINGS FROM EARLY, LOWER PALEOLITHIC TIMES. “I reject the concept of abrupt transitions between the major phases of the Palaeolithic.”

LMRAA (PHOTO COPY), Biblio.

Bednarik, Robert G., 1995 (April). “More News from Hell’s Canyon, Portugal” in AURA Newsletter 12: 7–8, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-2666.

HELL’S CANYON (CANADA do INFERNO), PORTUGAL. EUROPE. AUTHOR ASSERTS THAT ACCEPTING AN UPPER PALEOLITHIC DATE FOR THE PETROGLYPHS IN THIS REGION, BASED ON STYLE ANALYSIS ALONE, IS PREMATURE.

LMRAA, EPA.

Bednarik, Robert G., 1995 (November). “The Age of the Coa Valley Petroglyphs in Portugal” in Rock Art Research 12: 86–103, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

COA VALLEY, PORTUGAL. EUROPE. DIRECT DATING BY MICROEROSION ANALYSIS. PALEOLITHIC ROCK ART. BEDNARIK AGGRESSIVELY REFUTES A PALEOLITHIC TIME FRAME FOR THESE CARVINGS AND FURTHER ATTACKS STYLISTIC DATING AS A VIABLE STRATEGY FOR THIS REGION. (See Joao Zilhao, 1995, Paper presented to the International Rock Art Conference, Turino, Italy for a vigorous refutation of Bednarik’s conclusions. Both Zilhao and Bednarik review results reported by Dorn, Watchman, and Phillip who conducted a total of four independent direct dating blind tests (including Bednarik’s). Weathering indices analysis of paetroglyphs.

LMRAA, EPA, MWRBRAD.

Bednarik, R.G., 1995. “Open Air Petroglyphs of the European Palaeolithic” in International Newsletter on Rock Art (11): 9–11, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora11/inora-11.pdf (accessed on 22 April 2017).

EUROPE. CALL FOR DIRECT DATING AT OPEN AIR PALEOLITHIC PETROGLYPH SITES.

LMRAA (PHOTO COPY).

Bednarik, R.G., 1996. “Crisis in Palaeolithic Art Studies” in Anthropologie 34: 122–30, Moravské Muzeum, Brno, Czech Republic. ISSN: 0323-1119.

Rock art studies. Paleolithic art.

Abstract: “This review of recent developments in the study of Palaeolithic art explains some of the factors that have led to a crisis in confidence in this field. In particular, the mounting difficulties experienced with dating of rock art, the tenuous status of stylistic models, the inadequate understanding of taphonomic effects on palaeoart, and the selectiveness in what is considered and what is omitted are found to be major obstacles individually. However, collectively these and still other factors indicate that this field is reaching an alarming crisis level. Claims predicated on existing models, and especially on authority, are no longer necessarily viable, and there emerges a clear need for the discipline to subject itself to more rigorous review. Restraint in interpretation is required, and the introduction of scientific data acquisition and testing methods is advocated.”

Biblio, refdoc.fr.

Bednarik, R.G., 1996 (May). “Comment: Coa Debated at Last” in Rock Art Research 13: 63–66, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

COA VALLEY, PORTUGAL. EUROPE. DIRECT DATING vs. STYLISTIC ANALYSIS DEBATE. PALEOLITHIC ROCK ART. (See Joao Zilhao,1995, Paper presented to the International Rock Art Conference, Turino, Italy and R.G. Bednarik, RAR, 12(2): 86–104, 1995, A. Watchman, RAR, 12(2): 104–108, 1995, and M.L. Marymor, RAR, 13(1):62-63, 1996.

LMRAA.

Bednarik, Robert G., 1996 (December). “Comments on: Daraki-Chattan: A Palaeolithic Cupule Site in India” in Purakala, Giriraj Kumar, ed., vol. 7(1–2): 35–36, Rock Art Society of India, Dayalbagh, Agra, India.

Daraki-Chattan, Chambal Valley, India. See G. Kumar, “Daraki-Chattan: A Palaeolithic Cupule Site in India,” Purkala, 1990, 6(1–2): 17–28. Cupules. Paleolithic.

Biblio, LMRAA.

Bednarik, Robert G., 1997 (May). “The Role of Pleistocene Beads in Documenting Hominid Cognition” in Rock Art Research 14: 27–41, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

OSTRICH SHELL BEADS. Pleistocene (Paleolithic). REPLICATION EXPERIMENT. EARLY HOMINID COGNITION.

LMRAA.

Bednarik, Robert G., 1998 (November). “Debris of the Biblical Flood” in Rock Art Research 15: 124–25, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

RESPONSE TO JOHN FELIKS, RAR 15(2)109-124. PALEOLITHIC. NEOLITHIC. FOSSILS.

LMRAA.

Bednarik, R.G., 1998. “Microscopic Analysis of ‘Engraved Plaques’ and Other Objects from Devil’s Lair” in Journal of Royal Society of Western Australia 81: 165–75, Royal Society of Western Australia.

Devil’s Lair, south-west Australia. Portable rock art. Engraved limestone plaques. Late Pleistocene (Paleolithic) art. Microscopic analysis. Replication. Geomorphological study.

LMRAA (reprint), Biblio (gives pagination as 23-33).

Bednarik, Robert G., 1999. “Global Context of the Earliest American Art” in Bulletin of the Archaeological Survey Association of Southern California 22: 6–10, Archaeological Survey Association of Southern California, Redlands, California.

World. Americas. Asia. A consideration of the earliest known rock art in the Americas within the context of World influences, particularly Pleistocene (Paleolithic) Asia.

LMRAA (Internet download).

Bednarik, Robert G., 1999. “Analyses of Côa Valley Petroglyphs” in News 95—International Rock Art Conference Proceedings, unpaginated, Centro Studi e Museo d’Arte Prehistorica, Pinerolo, Italy.

Penascosa, Canada do Inferno, Ribeira dos Piscos, Foz Côa Petroglyphs, Portugal. Europe. Paleolithic style not Paleolithic age.

Abstract: “This paper presents the results of a recent attempt to extract dating and other information from the petroglyphs at the three major rock art sites in the Côa valley, Portugal. The principal methods used were microerosion analysis and internal analysis. The results show that several traditions have contributed to the corpus, that many motifs were treated or retouched repeatedly, and that weathering and microerosion states offered opportunities for creating a relative chronological framework. Attempts to achieve microerosion dating were hampered by poor suitability of the schistose facies and the lack of reliable calibration, but the oldest anthropic markings detected at the sites examined are being attributed to the mid-Holocene. Most of the figures, however, are significantly more recent, and the motifs exhibiting the most typical Palaeolithic stylistic features are generally less than 3000 years old. This is confirmed by the observation that some of them were made with metal tools.”

LMRAA.

Bednarik, Robert G., 2000 (May). “In Science, Falsifiablity Rules” in Rock Art Research 17: 18–20, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

PALEOLITHIC ART. PERCEPTION. INFORMATION PROCESSING. THE EVOLUTIONARY DEVELOPMENT OF EARLY MARK MAKING. PHOSPHENE THEORY. (Comment on Derek Hodgson, RAR, 17(1): 3–18).

LMRAA.

Bednarik, Robert G., 2002. “Earliest Known Palaeoart” in Pervobytnaya Arkheologiya: Chelovek i Iskusstvo. Edited by Valdimir Vasil’evich Bobrov. pp. 23–31, Kemerovskii Gosudarstvennyi Universitet, Novosibirsk, Russia.

Art origins. Paleoart. Pleistocene. Paleolithic.

Biblio.

Bednarik, Robert G., 2002. “An Outline of Middle Pleistocene Palaeoart” in Purakala 13: 39–44, Rock Art Society of India, Dayalbagh, Agra, India.

Paleoart. Art origins. Middle Pleistocene (paleolithic) art.

Biblio, LMRAA, RAISB.

Bednarik, Robert G., 2002. “Palaolithische Felskunst in Deutschland?” in Archaologische Informationen 25: 107–17, Deutsche Gesellschaft für Ur-und Frühgeschichte, ISSN: 0341-2873.

Germany. Europe. Paleolithic art.

Biblio, Refdoc.fr.

Bednarik, Robert G., 2003 (November). “The Earliest Evidence of Paleoart” in Rock Art Research 20: 89–135, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

United States. North America. South America. Asia. India. Siberia. China. Japan. Mideast. Australia. Africa. Europe. World. Pleistocene (Paleolithic) art. Paleoart. Mobiliary (portable) art. Art origins.

LMRAA, MWRBRAD, Biblio.

Bednarik, Robert G., 2003 (November). “Crusade for Science” in Rock Art Research 20: 121–28, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

United States. North America. South America. Asia. India. Siberia. China. Japan. Mideast. Australia. Africa. Europe. World. Pleistocene (Paleolithic) art. Paleoart. Mobiliary (portable) art. Art origins. Reply to Comments on Robert G. Bednarik, 2004, RAR, 20(2): 89–135.

LMRAA.

Bednarik, Robert G., 2005. “Church Hole: A Controversial Site” in International Newsletter on Rock Art (42): 19–21, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Church Hole, England, Britain, British Isles. Europe. Biting criticism of the quality of research by Bahn and Ripoll who have reported the site as the first example of pleistocene (Paleolithic) art in England.

LMRAA.

Bednarik, Robert G., 2005. “Palaeolithic Cave Art in Britain?” in Cave Art Research 5: 1–6, Australian Rock Art Research Association, Victoria, Australia.

Britain, British Isles. England. Europe. Paleolithic cave art.

Biblio.

Bednarik, Robert G., 2006. “Pleistocene Rock Art in Central Europe?” in International Newsletter on Rock Art (45): 27–30, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.international.icomos.org/centre_documentation/inora/inora45/inora-45-5.pdf (accessed on 4 October 2012).

Mladic Cave, Czechoslavakia. Central Europe. Pleistocene (Paleolithic) art. Dates for red markings discounted.

LMRAA.

Bednarik, Robert G., 2006. “About the Age of the Chauvet Rock Art” in Purakala vol. 16, Rock Art Society of India, Dayalbagh, Agra, India.

Chauvet Cave, France. Europe. Paleolithic cave art. Dating.

Biblio.

Bednarik, Robert G., 2006. “About the Age of the Chauvet Rock Art” in Cave Art Research 6: 14–20, Australian Rock Art Research Association, Victoria, Australia.

Chauvet, France. Europe. Paleolithic art. Dating.

Biblio.

Bednarik, Robert G., 2006. “Palaeolithic Art in China” in Festschrift to Prof. Anantha Adiga Sundara. Edited by P. Chenna Reddy. Delhi: Sharada Publishing House, pp. 569–80.

China. Asia. Paleolithic art.

Bancroft.

Bednarik, Robert G., 2006 (May). “A Unified Theory for Palaeoart Studies” in Rock Art Research 23: 85–88, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

World. Rock art studies. Paleoart studies. Paleolithic art.

LMRAA.

Bednarik, Robert G., 2006 (November). “More about Finger Flutings” in Rock Art Research 23: 195–97, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Rouffignac, France. Europe. Paleolithic art. Finger fluting. Comment on Kevin Sharpe and Leslie Van Gelder, “Finger Flutings in Chamber A1 of Rouffignac Cave, France”, 2006, RAR, 23(2):179-198.

LMRAA.

Bednarik, Robert G., 2006 (November). “The Cave Art of Mladec Cave, Czech Republic” in Rock Art Research 23: 207–16, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Mladec Cave, Czechoslovakia (Czech Republic). Europe. Pigment color analysis calls into question pleistocene (Paleolithic) age for these cave wall markings.

LMRAA.

Bednarik, Robert G., 2006 (November). “Micoquian Engravings from Oldisleben, Germany” in Rock Art Research 23: 265–68, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Oldisleben, Germany. Europe. Micoquian engravings. Pre- Upper Paleolithic incised lines on bone.

LMRAA.

Bednarik, Robert G., 2006. “The Middle Palaeolithic Engravings from Oldisleben, Germany” in Anthropologie 44(2): 113–121, Moravské Muzeum, Brno, Czech Republic. ISSN: 0323-1119.

Oldisleben, Germany. Europe. Middle Paleolithic engravings.

Biblio.

Bednarik, R., 2007. “The Early Cave Art of Central Europe” in Cave Art Research 7: 6–15, Cave Art Research Association, Melbourne, Australia.

Germany. Europe. Paleolithic art. Early dates questioned.

Biblio, Bancroft.

Bednarik, R., 2007. “Cave Art and Perceived Abilities of the Ancients” in Cave Art Research 7: 1–5, Cave Art Research Association, Melbourne, Australia.

Paleolithic art.

Biblio. Bancroft.

Bednarik, R.G., 2007 (May). “Antiquity and Authorship of the Chauvet Rock Art” in Rock Art Research 24: 21–34, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Chauvet Cave, France. Europe. Aurignacian rock art. Pleistocene (Paleolithic) art. Dating. Cave Bear. Ethnicity.

LMRAA, Biblio.

Bednarik, Robert G., 2007. “The Late Pleistocene Cultural Shift in Europe” in Anthropos 102: 347–70, Anthropos Institute, St Augustine, Germany. ISSN: 0257-9774.

Europe. Late Pleistocene (Paleolithic) cultural shift.

Bancroft, Biblio.

Bednarik, Robert G., 2008. “The Origins of ‘Modern Humans’ and Palaeoart Reconsidered” in Pleistocene Palaeoart of the World. Proceedings of the XV UISPP World Congress (Lisbon, 4–9 September 2006)/Actes du XV Congrès Mondial (Lisbonne, 4–9 Septembre 2006) vol. 19, Session C80, edited by Robert G. Bednarik and Derek Hodgston British Archaeological Reports (BAR) International Series, (S1804): 41–48, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407302911.

Australia. Asia. Africa. Europe. Paleoart. Origins of modern humans. Symboling behavior was in widespread use during the Middle and Lower Paleolithic.

Bancroft, LMRAA, Biblio.

Bednarik, Robert G., 2008. “Pleistocene Palaeoart of the World. Introduction and Summary” in Pleistocene Palaeoart of the World. Proceedings of the XV UISPP World Congress (Lisbon, 4 September 2006)/Actes du XV Congrès Mondial (Lisbonne, 4–9 Septembre 2006) vol. 19, Session C80, edited by Robert G. Bednarik and Derek Hodgston British Archaeological Reports (BAR) International Series, (S1804):1-2, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407302911.

World. Paleoart. Origins of modern humans. Scientific, refutable, approaches to the study of earliest art set these papers apart from more common historic research approaches that have focused on cultural role and meaning of the art. Pleistocene. Paleolithic.

LMRAA.

Bednarik, Robert G., 2008 (November). “Children as Pleistocene Artists” in Rock Art Research 25: 173–82, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

France. Spain. Europe. Finger fluting. Pleistocene (paleolithic) art. Three types of Pleistocene art provide evidence of having been made by children or adolescents: finger fluting, stencils (prints of body parts, i.e. hand stencil, etc.), prints of fingertips.

LMRAA.

Bednarik, Robert G., 2009 (November). “To Be or Not to Be Paleolithic, That is the Question” in Rock Art Research 26: 165–77, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

England, Britain, France, Protugal. Europe. Asia. World. Paleolithic art. Dating. Style. Validation. Fakes.

LMRAA.

Bednarik, Robert G., 2010. “To Be or Not to Be Palaeolithic, That is the Question” in Proceedings of the XV World Congress UISPP (Lisbon, 4–9 September 2006) 35 Session C74: Methods of Art History Tested against Prehistory; Session C81: Spirals and Circular Forms: the Most Common Rock Art in the World? Session C85: European Cave Art; Session S02: Euro-Mediterranean Rock Art Studies; Session S07: Global State edited by Marc Groenen and Didier Martens (C74), Jane Kolber; John Clegg and Alicia Distel (C81), Kevin Sharpe? and Jean Clottes (C85), Mila Simões Abreu (S02), Giriraj Kumar and Robert Bednarik (S07), James Keyser and Mavis Greer (WS37). British Archaeological Reports (BAR) International Series, (S2108): 65–79, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407306490.

Western and Central Europe. World. Paleolithic art. Argues against assigning a paleolithic age to many of the claims for such antiquity.

Internet, LMRAA.

Bednarik, Robert G., 2010. “Paleoart of the Lower Paleolithic” in Recent Researches in Archaeology, History, and Culture (Festshrift to Prof. K.V. Raman), P. Chenna Reddy, ed., 1–14, Agamkala Prakashan, Delhi, India.

Lower Paleolithic art. Dating.

Biblio, MWRBRAD.

Bednarik, Robert G., 2010. “Paleoart of the Lower Palaeolithic” in Acta Archaeologica 81: 95–105, ISSN: 0065-101X, Online ISSN: 1600-0390. DOI: 10.1111/j.1600-0390.2010.00293.x

Paleoart. Lower Paleolithic art. Beads and pendants. Petroglyphs. Pigment use. Figurines. Engravings. Manuports. Dating

Abstract: “The author looks at the origin of art through the study of a set of objects of the Lower Palaeolithic: perforated objects (beads and pendants), petroglyphs, pigments, figurines, prints and objects carried, but not modified. It seeks to highlight the symbolic and non-utility of certain productions showing human cognitive abilities for hominin this early period.”

Internet, Refdoc.fr.

Bednarik, Robert G., 2010–2011. “The Distribution of Franco-Cantabrian Rock Art” in Symposium 1: L’Art Pléistocène dans le Monde Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, Vol. 65–66: 24–25, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Spain. France. Europe. Paleolithic art. Review of claims for Pleistocene age for open-air sites.

Abstract: “In reviewing the geographical distribution of European rock art attributed to the Pleistocene, the “heartland” of the Franco-Cantabrian cave art can be contrasted with rock arts of numerous other regions of Europe. Most of the “external” sites are of percussion petroglyphs, and the attribution of many of them to the Pleistocene is controversial. This paper reviews all of the purported Pleistocene rock art sites listed by one specialist, and reviews each candidate. It emerges that nearly all the sites outside the traditional distribution of Franco-Cantabrian palaeoart have either been dated to the Holocene, or they remain controversial and the likelihood that they are of the Pleistocene is not very great. Therefore it is necessary to review all European attributions of rock art to the Ice Age.”

Dialnet.

Bednarik, Robert G., 2010–2011. “Indian Pleistocene Rock Art in a Global Context” in Symposium 4: L’Art Pléistocène en Asie Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 150–51, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

India. South Asia. Pleistocene (Paleolithic) art. Cupule, groove motif(s).

Abstract: “The incredibly early petroglyphs reported from central Indian quartzite caves immediately raise the issue of the compatibility of this information with our knowledge from the rest of the world. It is demonstrated that, with the exception of the presumably greater antiquity of the Indian finds, they are fully consistent with what five continents have yielded. The Indian sites offer numerous cupules and a very few linear grooves; the oldest forms of rock art from Africa, Europe, Australia and the Americas comprise precisely the same forms of petroglyphs, and even the subsequent traditions are almost identical. This is demonstrated with the earliest known examples of rock art from those continents, and is partly attributed to the taphonomy of rock art. Rock paintings, similarly, are limited to regions where deep limestone caves were used by Pleistocene hominins, evidence for which is so far only available from two continents. Even the earliest known indications of portable palaeoart from India are entirely consistent with other continents.”

Dialnet.

Bednarik, Robert G., 2010–2011. “An Overview of Asian Palaeoart of the Pleistocene” in Symposium 4: L’Art Pléistocène en Asie Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 162–63, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Asia. Pleistocene (Paleolithic) art. Regional overview.

Abstract: “This critical assessment of the present state of secure knowledge of Pleistocene palaeoart in the continent of Asia considers both the proven occurrences from five countries, and proposed further finds that are of questionable status. The nature and diversity of the available pan-continental evidence is discussed. This survey indicates firstly that, in comparison especially to Europe, this subject has been severely neglected; and secondly, that the known geographical distribution and the paucity of credible instances are the result of such factors as the intensity of research activities and taphonomic factors. The only reasonably informative data derives from a very few areas where research has been focused, and the nature of the Pleistocene finds illustrates significant taphonomic bias as is also the case in the other continents.”

Dialnet.

Bednarik, Robert G., 2010–2011. “The Nature of Australian Pleistocene Rock Art” in Symposium 5: L’Art Pléistocène en Australie Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 184–85, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Australia. Pleistocene (Paleolithic) rock art.

Abstract: “The corpus of known Australian rock art of the Pleistocene is thought to be many times the size of that of any other continent. However, it has so far been inadequately defined or characterized, and its study as a specific phenomenon has been almost completely neglected. The historical reasons for this are explored and it is endeavoured to present a preliminary inventorial outline of the massive corpus of Australian Ice Age rock art. The lack of formal criteria for recognizing such palaeoart as well as the lack of credible age estimates and some dating controversies have contributed to the general lack of knowledge about this corpus, as have archaeological misconceptions about perceived styles. The general characteristics of Australian Pleistocene rock art are explained and illustrated.”

Dialnet.

Bednarik, R., 2012. “Indian Pleistocene Rock Art in a Global Context” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 150–51, CD: 869–878, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

India. World. Pleistocene (Paleolithic) art.

Biblio, LMRAA.

Bednarik, R., 2012. “An Overview of Asian Paleoart of the Pleistocene” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 162–63, CD: 943–954, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

Asia. Pleistocene (paleolithic) art. Regional overview.

Biblio, LMRAA.

Bednarik, R., 2012. “The Nature of Australian Pleistocene Rock Art” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 184–85, CD: 1037–1048, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523, ISBN: 987-2-9531148-3-6.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

Australia. Pleistocene (Paleolithic) rock art.

Biblio, LMRAA.

Bednarik, R., 2012. “Dating and Taphonomy of Pleistocene Rock Art” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 188–89, CD: 1051–1060, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

Pleistocene (Paleolithic) rock art. Dating. Taphonomy.

Abstract: “In this broad overview the corpus of world rock art is defined and compared with the known distribution of Pleistocene rock art. The discrepancies are related to relative research efforts, to the taphonomy of rock art, and to issues relating to the age estimation of rock art. As each of these factors is examined, it becomes apparent that there have been significant distortions in the ways Pleistocene rock art has been characterized and defined. Most particularly, the taphonomic distortions remain inadequately understood and their effects are identified and explained.”

Biblio, LMRAA.

Bednarik, Robert G., 2012. “Lower Palaeolithic Palaeoart of the World” in Congresso Internacional da IFRAO 2009—Piauí/BRASIL FUMDHAMentos- Revista da Fundacao Museu do Homem Americano, Vol. IX:197-219, Museu do Homem Americano, Piaui, Brazil. ISSN: 0104 351X.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

World. Lower Paleolithic paleoart.

Abstract: “The discovery of Lower Palaeolithic rock art at two sites in central India immediately raises two questions: what is the global context of such extremely early indications of cognitive sophistication in hominins, and how was it possible that the orthodox model claimed that such complexity in human behaviour was exclusive to the Upper Palaeolithic. The available relevant evidence from around the world demonstrates that the Indian evidence is consistent with what has been observed elsewhere.”

Internet.

Bednarik, Robert G., 2013. “On American Mammoth Depictions” in La Pintura 39: 7, American Rock Art Research Association, Lemon Grove, California.

Sand Island, Bluff, Utah. Four Corners. United States. North America. Mammoth motif(s). Paleolithic art. Refutation.

LMRAA.

Bednarik, Robert G., 2013. “Pleistocene Palaeoart in Africa” in World Rock Art, Special Issue, R.G. Bednarik, ed. Arts, vol. 2: 6–34, ISSN: 2076-0752. doi:10.3390/arts2010006 (accessed on 7 September 2013).

Africa. Pleistocene (Paleolithic) rock art. Palaeoart.

Abstract: “This comprehensive review of all currently known Pleistocene rock art of Africa shows that the majority of sites are located in the continent’s south, but that the petroglyphs at some of them are of exceptionally great antiquity. Much the same applies to portable palaeoart of Africa. The current record is clearly one of paucity of evidence, in contrast to some other continents. Nevertheless, an initial synthesis is attempted, and some preliminary comparisons with the other continents are attempted. Certain parallels with the existing record of southern Asia are defined.”

Biblio.

Bednarik, R.G., 2013. “Pleistocene Palaeoart of Asia” in World Rock Art, Special Issue, R.G. Bednarik, ed. Arts, vol. 2: 46–76, ISSN: 2076-0752. doi:10.3390/arts2020046 (accessed on 7 September 2013).

Asia. Pleistocene (Paleolithic) rock art. Palaeoart.

Abstract: “This comprehensive overview considers the currently known Pleistocene palaeoart of Asia on a common basis, which suggests that the available data are entirely inadequate to form any cohesive synthesis about this corpus. In comparison to the attention lavished on the corresponding record available from Eurasia’s small western appendage, Europe, it is evident that Pleistocene palaeoart from the rest of the world has been severely neglected. Southern Asia, in particular, holds great promise for the study of early cognitive development of hominins, and yet this potential has remained almost entirely unexplored. Asia is suggested to be the key continent in any global synthesis of ‘art’ origins, emphasising the need for a comprehensive pan-continental research program. This is not just to counter-balance the incredible imbalance in favour of Europe, but to examine the topic of Middle Pleistocene palaeoart development effectively.”

Biblio.

Bednarik, R.G., 2013. “Archaeological Constructs of Place in the Pleistocene?” in Purakala 23, Rock Art Society of India, Dayalbagh, Agra, India.

Setting: constructs of place. Pleistocene (Paleolithic).

Biblio.

Bednarik, R.G., 2013 (November). “Siega Verde: A Bungled Submission to the World Heritage List” in Rock Art Research 30: 256–58, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Siega Verde, Spain. Europe. Cultural resource management. Conservation and preservation. World Heritage List. Upper Paleolithic age for petroglyphs disputed.

LMRAA.

Bednarik, Robert G., 2013. “Lower Palaeolithic Rock Art of India and Its Global Context” in Indian Journal of Physical Anthropology and Human Genetics 32: 113–42.

India. Asia. Lower Paleolithic rock art.

Biblio.

Bednarik, Robert G., 2013 (November). “The Tail that Wags the Dog” in Rock Art Research 30: 165–67, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Europe. Comment on: Oscar Moro Abadia, “Rock Art Stories: Standard Narratives and Their Alternatives”, RAR, 30(2):139-173. Rock art studies. History of research. Art history. Paleolithic art. Interpretation. Narrative. Eurocentrism. Cultural Colonialism. Linearity. Progressiveness. Rock Art Science.

LMRAA.

Bednarik, Robert G., 2013 (November). “Megafauna Depictions in Australian Rock Art” in Rock Art Research 30: 197–215, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Australia. Megafauna, animal tracks motif(s). Pleistocene (Paleolithic) rock art. Dating.

LMRAA.

Bednarik, Robert G., 2014. “Pleistocene Paleoart of Australia” in Arts 3: 156–74, ISSN: 2076-0752. doi:10.3390/arts3010156 (accessed on 15 April 2014).

Australia. Pleistocene (Paleolithic) art.

Abstract: “Pleistocene rock art is abundant in Australia, but has so far received only limited attention. Instead there has been a trend, begun over a century ago, to search for presumed depictions of extinct megafauna and the tracks of such species. All these notions have been discredited, however, and the current evidence suggests that figurative depiction was introduced only during the Holocene, never reaching Tasmania. Nevertheless, some Australian rock art has been attributed to the Pleistocene by direct dating methods, and its nature implies that a significant portion of the surviving corpus of rock art may also be of such age. In particular much of Australian cave art is of the Ice Age, or appears to be so, and any heavily weathered or patinated petroglyphs on particularly hard rocks are good candidates for Pleistocene antiquity. On the other hand, there is very limited evidence of mobiliary paleoart of such age in Australia.”

Internet.

Bednarik, Robert G., 2014. “Pleistocene Paleoart of Europe” in World Rock Art, Special Issue, R.G. Bednarik, ed. Arts, vol. 3: 245–78, ISSN: 2076-0752. doi:10.3390/arts3020245 (accessed on 14 September 2014).

Europe. Pleistocene (Paleolithic) art. Bead. Mobiliary (portable) art. Dating.

Abstract: “As in Australia, Pleistocene rock art is relatively abundant in Europe, but it has so far received much more attention than the combined Ice Age paleoart of the rest of the world. Since archaeology initially rejected its authenticity for several decades, the cave art of France and Spain and the portable paleoart from various regions of Europe have been the subjects of thousands of studies. It is shown, however, that much of the published information is unreliable and subjective, and that fundamental trends in the evidence have been misunderstood. In particular, the data implies that the paleoart of the Early Upper Paleolithic, the work of robust humans such as Neanderthals, is considerably more sophisticated and developed that that of more recent times. Thus, the European paleoart demonstrates that the teleological model of cultural “evolution” is false, which is to be expected because evolution is purely dysteleological. This is confirmed by the extensive record of pre-Upper Paleolithic European paleoart, which is comprehensively reviewed in this paper.”

Biblio, Internet.

Bednarik, R.G., 2014 (May). “Data and Interpretation in the Coal Valley, Portugal” in Rock Art Research 31: 107–10, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Coa Valley, Portugal. Europe. Using geologic morphology to bracket potential dates for the Coa Valley rock art. Not Paleolithic, argues Bednarik.

LMRAA.

Bednarik, Robert G., 2014. “Pleistocene Palaeoart of the Americas” in World Rock Art, Special Issue, R.G. Bednarik, ed. Arts, vol. 3: 190–206, ISSN: 2076-0752. doi:10.3390/arts3020190 (accessed on 14 September 2014).

North America. South America. Pleistocene (Paleolithic) art.

Abstract: “In contrast to the great time depth of Pleistocene rock art and mobiliary ‘art’ in the four other continents, the available evidence from the Americas is very limited, and restricted at best to the last part of the final Pleistocene. A review of what has so far become available is hampered by a considerable burden of literature presenting material contended to be of the Ice Age, even of the Mesozoic in some cases, that needs to be sifted through to find a minute number of credible claims. Even the timing of the first colonization of the Americas remains unresolved, and the lack of clear-cut substantiation of palaeoart finds predating about 12,000 years bp is conspicuous. There are vague hints of earlier human presence, rendering it likely that archaeology has failed to define its manifestations adequately, and Pleistocene palaeoart remains almost unexplored at this stage.”

Internet.

Bednarik, Robert G., 2014. “Archaeological Constructs of Place in the Pleistocene?” in Purakala 24: 19–26, Rock Art Society of India, Dayalbagh, Agra, India.

Pleistocene (Paleolithic).

Biblio.

Bednarik, Robert G., 2015. “Paleoart of the Lower Paleolithic” in Progress in Arts and Humanities 1: 1–12.

Lower Paleolithic art.

Biblio.

Bednarik, Robert G., 2015. “The Lower Paleolithic Petroglyphs of Bhimbetka” in Rock Art: Recent Researches and New Perspectives: Festschrift to Padma Shri. Dr. Yashodhar Mathpal, G. Ajit Kumar, ed., vol. 1: 181–202, New Bharatiya Book Corporation, New Delhi, India. ISBN: 8183152635, 9788183152631.

Bhimbetka, Madhya Pradesh, India. South Asia. Lower Paleolithic.

Internet.

Bednarik, Robert G., 2015 (March). “A Baseline for Magafauna Depictions in American Palaeoart” in Rock Art Research 32: 24–25, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Sand Island, Utah, United States. North America. Reply ot comments on Bednarik, R.G., 2015, 32(1): 3–18, “Pleistocene Fauna Depictions in American Palaeoart”. Refutation of Malotki’s research based on her analysis of the geologic age of the sandstone cliff where the carvings are found. Pleistocene (paleolithic).

LMRAA.

Bednarik, Robert G., 2015 (March). “Pleistocene Fauna Depictions in American Palaeoart” in Rock Art Research 32: 3–30, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

United States. North America. Pareidolic identification. Reviews history of research regarding claims for depicitons of Pleistocene megafauna, including dinosaurs and mammoths. Finds no scientifically based credible evidence for these claims. Focuses especial criticism on claims made by Ekkehart Malotki at Sand Island, Utah. Pleistocene (Paleolithic).

LMRAA.

Bednarik, Robert G., 2016. “The Gondershausen Petroglyphs Reconsidered” in International Newsletter on Rock Art (76): 23–27, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

https://www.academia.edu/30576080/The_Gondershausen_petroglyphs_reconsidered (accessed on 25 April 2017).

Gondershausen, Hunsruck Region, west of the Rhine River near Koblenz, Germany. Europe. Paleolithic art. Aurignacian age disputed.

LMRAA.

Bednarik, Robert G., 2017. Palaeoart of the Ice Age, 213 pgs, Editions Universitaires Europeennes EUE, ISBN: 13:9783639560084.

Africa. Asia. Americas. Europe. Australia. World. Paleolithic (pleistocene, palaeoart) art.

Abstract: “The many hundreds of books and thousands of academic papers on the topic of Pleistocene (Ice Age) art are limited in their approach because they deal only with the early art of southwestern Europe. This is the first book that attempts a comprehensive synthesis of the known Pleistocene palaeoart of six continents, a phenomenon that is in fact more numerous and older in other continents. The book contemplates the origins of art in a balanced manner, based on reality rather than fantasies about cultural primacy. Its key findings challenge most previous perceptions in this field and literally re-write the discipline. Despite the eclectic format and its high academic standards, the book addresses the non-specialist and the specialist reader. It presents a panorama of the rich history of palaeoart, stretching back more than twenty times as long in time as the cave art of France and Spain. This abundance of evidence is harnessed in presenting a new hypothesis of how early humans began to form and express constructs of reality and thus created the ideational world they existed in. It explains how art-producing behaviour began and the origins of how humans relate to the world consciously.”

Internet, LMRAA.

Bednarik, Robert G., 2017. Paleoart of the Ice Age, 260 pgs, Cambridge Scholars Publishing, SBN-13: 978-1-4438-9517-0 ISBN-10: 1-4438-9517-2.

http://www.cambridgescholars.com/download/sample/64110 (accessed on 23 September 2017).

Africa. Americas. Asia. Australia. Europe. World. Review of pleistocene (paleolithic, paleoart, ice age) extermal “memory traces.” “Another misunderstanding of ethnocentric commentators concerns the symbolic function of palaeoart (i.e. involving referent and referrer). It is perfectly possible that palaeoart was indeed symbolic, or that some of it was, but this has not been demonstrated so far and is unlikely to be determined. A much more viable alternative would be to treat palaeoart as the surviving manifestations of exograms: externalised memory traces akin to engrams (Bednarik 1987, 2014a; Donald 1991). This places a very different epistemological framework on the evidence, one that is not governed by a Eurocentric construct of reality. The question, is anything art or not, then becomes as irrelevant as it should always have been, having no scientific merit.”

Abstract: “The many hundreds of books and thousands of academic papers on the topic of Pleistocene (Ice Age) art are limited in their approach because they deal only with the early art of southwestern Europe. This is the first book to offer a comprehensive synthesis of the known Pleistocene palaeoart of six continents, a phenomenon that is in fact more numerous and older in other continents. It contemplates the origins of art in a balanced manner, based on reality rather than fantasies about cultural primacy. Its key findings challenge most previous perceptions in this field and literally re-write the discipline. Despite the eclectic format and its high academic standards, the book addresses the non-specialist as well as the specialist reader. It presents a panorama of the rich history of palaeoart, stretching back more than twenty times as long in time as the cave art of France and Spain. This abundance of evidence is harnessed in presenting a new hypothesis of how early humans began to form and express constructs of reality and thus created the ideational world in which they existed. It explains how art-producing behaviour began and the origins of how humans relate to the world consciously.”

Internet.

Bednarik, Robert G., 2017 (June). “Equine Petroglyphs in Europe” in Journal of Archaeological Science: Reports 13: 99–120, Elsevier, ISSN:2352-409X.

https://doi.org/10.1016/j.jasrep.2017.03.059 (accessed on 1 May 2017).

Europe. Equine (horse), zoomorph motif(s). Style. Dating. Erosion. Paleolithic art.

Abstract: “In recent decades, numerous examples have been reported of open-air petroglyphs on schists and slates that were attributed to the Upper Palaeolithic period. In the majority of cases, these motifs are said to depict horses. In this paper, a rich concentration of equine petroglyphs on granite surfaces of approximately known ages is taken advantage of to add to understanding the rates of rock surface weathering. The general topic of mistaken Palaeolithic rock art across Eurasia is explored, leading to the appreciation of the difficulties in defining a rock art style. One of these problems is that so many non-Palaeolithic elements have been incorporated in this style that it cannot be regarded as reliable. Another complication arises from the emotive conviction that Pleistocene ‘art’ is more important than Holocene. That belief probably stems from the notion that the Franco-Cantabrian ‘art’ substantiates the paradigm of ‘civilisation’ initially arising in Europe.”

ScienceDirect.

Bednarik, Robert G., 2017 (June). “Reading Messages into Palaeoart” in EXPRESSION: Quaterly e-Journal of Atelier in Cooperation with UISPP_CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples, (16): 24–29, Atelier Editions, Capo di Ponte, Italy. ISSN: 2499-1341.

https://www.academia.edu/33873387/Neuro-ethnological_Messages_from_Rock_Pictures (accessed on 14 July 2017).

Paleolithic art. Mobiliary (portable) art. Interpretation. Scientific method. Pareidolia.

Academia.edu.

Bednarik, Robert G., and Beaumont, Peter B., 2010–2011. “Pleistocene Engravings from Wonderwerk Cave, South Africa” in Symposium 2: L’Art Pléistocène en Afrique Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 96–97, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Wonderwerk Cave, South Africa Pleistocene (Paleolithic) art.

Abstract: “Confirmed Pleistocene palaeoart from Africa remains rare, but there are a small number of engraved and painted portable objects from various sites in southern Africa. Some of these are stratigraphically attributable to the Middle Stone Age, while Wonderwerk Cave has also produced plaques relating to the prior Fauresmith technocomplex. We here present observations and interpretations of the hominin modification traces on two finds from that site and also consider their find contexts.”

Dialnet.

Bednarik, R., and Beaumont, P., 2012. “Pleistocene Engravings from Wonderwerk Cave, South Africa” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 96–97, CD: 561–570, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

Wonderwerk Cave, South Africa. Paleolithic art.

Biblio, LMRAA.

Bednarik, Robert G., and Hodgston, Derek, eds., 2008. Pleistocene Palaeoart of the World. Proceedings of the XV UISPP World Congress (Lisbon, 4–9 September 2006)/tes du XV Congrès Mondial (Lisbonne, 4–9 Septembre 2006) vol. 19, Session C80, edited by Robert G. Bednarik and Derek Hodgston British Archaeological Reports (BAR) International Series, (S1804):75 pgs, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407302911.

World. Pleistocene. Paleoart. Paleolithic.

LMRAA.

Bednarik, Robert G., and Kumar, Giriraj, 2008. “The Lower Palaeolithic Rock Art of India” in Pleistocene Palaeoart of the World. Proceedings of the XV UISPP World Congress (Lisbon, 4–9 September 2006)/Actes du XV Congrès Mondial (Lisbonne, 4–9 Septembre 2006) vol. 19, Session C80, edited by Robert G. Bednarik and Derek Hodgston British Archaeological Reports (BAR) International Series, (S1804):33-39, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407302911.

Auditorium Cave, Bhimbetka, Daraki-Chattan, India. Lower Paleolithic rock art. Cupules, engraved grooves, covered with Acheulian strata. Dating.

Bancroft, LMRAA, Biblio, MWRBRAD.

Bednarik, Robert G., and Kumar, Giriraj, 2012. “Discovery of Lower Palaeolithic Petroglyphs from Central India and its Impact on the Concept of Cognitive and Cultural Evolution of the Hominins” in Rock Art in Modern Society. On the 290th Anniversary of the Discovery of Tomskaya Pisanitsa, Book of Papers of the International Conference, August 22–26, Kemerovo, Russia, vol. 2: 181–88, Kuzbassvuzizdat, Kemerovo, Russia. ISBN: 9785202010255.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

Central India. Lower Paleolithic. Cognitive evolution. Cultural evolution. Hominins. In Russian.

Bancroft.

Bednarik, Robert G., Kumar, Giriraj, Watchman, Alan and Roberts, Richard G., 2005 (November). “Preliminary Results of the EIP Project” in Rock Art Research 22: 147–97, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Daraki-Chattan, Rewa-Chambal Valley, Auditorium Cave, Bhimbetka, India. Cupules. Dating. Lower Paleolithic. EIP (Early Indian Petroglyphs Project).

LMRAA, MWRBRAD.

Bednarik, R.G., Kumar, G., Watchman, A. and Roberts, R.G., 2006 (May). “Response to Harrod’s Questions” in Rock Art Research 23: 114–18, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Daraki-Chattan, Rewa-Chambal Valley, Auditorium Cave, Bhimbetka, India. Reply to James Harrod’s comment on: Robert G. Bednarik, Giriraj Kumar and Alan Watchman, “Preliminary Results of the EIP Project”, Rock Art Research, 22:147-197. Cupules. Dating. Lower Paleolithic. EIP (Early Indian Petroglyphs Project).

LMRAA.

Bednarik, R.G., and Sreenathan, M., 2012 (November). “Traces of the Ancients: Ethnographic Vestiges of Pleistocene Art” in Rock Art Research 29: 191–217, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

http://www.fumdham.org.br/wp-content/uploads/2015/06/fumdhamentos_ix.pdf?x49464 (accessed on 21 August 2017).

Andaman Islands, Bay of Bengal, India. Southern Asia. Pleistocene (Paleolithic) art. Jarawa Ethnography. Geometric motif(s). Young people as creators of the art.

LMRAA.

Bednarik, R.G., and Sreenathan, M., 2015. “Horse and Bull Petroglyphs of Europe” in Bollettino del Centro Camuno di Studi Preistorici 40: 7–30, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy. ISSN: 1594-7084.

http://www.ccsp.it/web/INFOCCSP/bcsp/bcsp40_preview.pdf (accessed on 9 June 2017).

Europe. Horse, bull motif(s). Holocene vs. Pleistocene (Paleolithic). Neo-colonialist bias.

Abstract: “This paper summarises a large number of cases in which late Holocene rock art in Europe, often of the historical period, has been pronounced to be of the Pleistocene, generally on the basis of perceived style. Since a large component of what is widely regarded as ‘Palaeolithic’ rock art is in fact not of that period, it follows that the concepts currently held of Palaeolithic style must be severely flawed. The reasons for the importance given to Palaeolithicity in Europe are explored, leading to the hypothesis that it is seen as underpinning the neo-colonialist notion that art, symbolism and human cognitive modernity originated in Europe in the Upper Palaeolithic. This is demonstrably a fallacy that has dominated nearly all discourse on the ‘origins of art’, suggesting that those who hold this view are inadequately informed. The causes of the persistence of this myth are explored from a global perspective.”

LMRAA, Internet.

Bednarik, Robert G., and Yuzhu You, 1991 (November). “Palaeolithic Art from China” in Rock Art Research 8: 119–23, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

China. South Asia. Paleolithic art. Mobiliary (portable) art. Bone.

LMRAA.

Bégouën, Eric, and Bégouën, Marie-Brune, 2013. “Découverte d’un Grand Phallus Gravé Magdalénien dans la Grotte des Trois-Frères (Ariège)” in Bulletin de la Société Préhistorique Française 110: 127–29, Société Préhistorique Française, Paris, France. ISSN: 0249-7638.

http://www.prehistoire.org/offres/file_inline_src/515/515_P_27559_3.pdf (accessed on 20 April 2014).

Trois-Frères, Ariège), France. Europe. Paleolithic art. Phallus motif(s). Magdalenian.

Internet.

Begouen, E., and Begouen, M.-B., 2013. “Centenaire de la Decouverte de la Gortte du Tuc d’Audoubert (Ariege) et de ses “Bisons d’Argile”” in International Newsletter on Rock Art (65): 24–27, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/images/Inora_65_2013_1._Ensemble.pdf (accessed on 22 April 2017).

Tuc d’Audoubert, Ariege, France. Europe. Clay bison motif(s). Paleolithic art.

Biblio.

Bégouën, H., 1912. “Une Nouvelle Grotte a Gravures dans l’Ariege, la Caverne du Tuc d’Audoubert” in XIIe Congres International d’Anthropologie, Geneve, 489–97.

Tuc d’Audoubert, Ariege, France. Europe. PALEOLITHIC CAVE ENGRAVINGS. Includes 3 plates, 2 figures.

FHCCA, Biblio.

Bégouën, Henry, 1912. “Les Statues Préhistoriques de la Caverne du Tuc d´Audoubert” in L’Anthropologie 23: 657–65, Masson, Paris, France. ISSN: 0003-5521.

Tuc d’Audoubert, Ariege, France. Europe. PALEOLITHIC CAVE ART. Includes 3 photos.

FHCCA, Biblio.

Bégouën, Henry, 1912. “Les Bisons d’Argile de la Caverne du Tuc d’Audoubert (Ariege)” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres 56: 532–38, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/doc/crai_0065-0536_1912_num_56_7_73103 (accessed on 1 August 2017).

Tuc d’Audoubert, Ariege, France. Europe. Paleolithic cave art. Bison motif(s).

FHCCA, Persee.

Bégouën, Henry, 1913. “Les Statues d’Argile Prehistoriques de la Caverne du Tuc d’Audoubert” in Bulletin de la Societe Ariegeoise des Sciences, Lettres et Arts 13: 244–46, Societe Ariegeoise des Sciences.

Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art. Bison motif(s). Clay sculpture.

UVAP.

Bégouën, Henry, 1913. “Les Statues de Bison du Tuc d’Audoubert” in Bulletin de la Societe Archaeologie du Midi de la France 42: 61–62, Societe Archaeologie du Midi de la France.

Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art. Bison motif(s). Clay sculpture.

UVAP.

Bégouën, Comte, 1920. “Note sur la Caverne des Trois-Frères” in Bulletin de la Société Préhistorique Française 17: 239–40, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1920_num_17_10_7514 (accessed on 19 October 2011).

Trois-Frères, Ariege, France. Europe. Paleolithic art.

Persee.

Bégouën, Henry, 1920. “Un Dessin Relevé dans la Caverne des Trois-Frères, à Montesquieu-Avantès (Ariège)” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres 64: 303–10, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/doc/crai_0065-0536_1920_num_64_4_74336?q=art%20rupestre (accessed on 18 August 2017).

Les Trois Freres, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. The “Sorcerer” motif(s).

FHCCA, Biblio, Persee.

Bégouën, Henry, 1921. “Decouvertes dans la Caverne de Montesquieu-Avante en 1921” in Bulletin de la Societe Ariegeoise des Sciences, Lettres et Arts 15: 279–82, Societe Ariegeoise des Sciences.

Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art..

UVAP.

Bégouën, Henry, 1921. “L’Ebauche de Bison en Argile du Tuc d’Audoubert” in Revue Anthropologique 31: 47–48.

Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art. Bison motif(s). Clay sculpture.

UVAP.

Bégouën, Henry, 1923. “Découverte de Modelages en Argile de l’Epoque Magdalénienne dans la Caverne de Montespan (Haute-Garonne)” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres 67: 401–2, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/doc/crai_0065-0536_1923_num_67_5_74838 (accessed on 18 August 2017).

Caverne de Montespan, Haute-Garonne, France. Europe. Paleolithic art. Clay sculpture.

Persee.

Bégouën, Henri, 1923. “Mâchoires de Renne Provenant de Gisements d´Enlène, du Tuc-d´Audoubert et des Trois-Frères” in Revue Anthropologique 33: 49–50.

Tuc-d´Audoubert, Trois-Frères, Ariege, France. Europe. Paleolithic art. Deer (cervid) motif(s).

UVAP.

Bégouën, Compte Henry, 1924. “La Magie aux Temps Prehistoriques” in Memoires de l’Acadamie des Sciences, Inscriptions et Belles Lettres 12: 417–32, Toulouse, France.

France. Europe. Magic is of prehistoric origin. Paleolithic art.

Biblio, PAPPM.

Bégouën, H, 1925. “Quelques Nouvelles Figurations Humaines Prehistoriques dans les Grottes de l’Ariege” in Congres International d’Anthropologie 181–91, Stratsbourg, Austria.

LE PORTEL, MAS D’AZIL, ARIEGE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. 3 FIGURES.

FHCCA, Biblio.

Bégouën, Compte Henry, 1925–1926. “Observations Nouvelles dans les Grottes des Pyrenees” in Publication en l’Honneur du Prof. Gorjanovic—Krambergera, 501–9, Zagreb.

Pyrenees. France. Europe. Paleolithic art.

Biblio.

Bégouën, H., 1926. “L’Art Mobilier de la Caverne Tuc d’Audoubert (Ariege)” in I.P.E.K. (Jahrbuch fur Praehistorische und Ethnographische Kunst), 219–28, Walter de Gruyter & Co, ISSN: 0075-0468.

Tuc d’Audoubert, Ariege, France. Europe. PALEOLITHIC. PORTABLE ROCK ART. MOBILIARY. Inlcudes 6 plates.

FHCCA, AL@RLG, Biblio.

Bégouën, H., 1927. “L’Art Prehistorique est d’Origine Magique” in Biblos III: 15 pgs.

France. Europe. Paleolithic art. Magic.

UVAP.

Bégouën, Henry, 1928. “Decouvertes Nouvelles dans la Caverne des Trois Freres a Montesquieu-Avantes” in Revue Anthropologique 10–12: 358–64.

Trois Freres, Ariege, France. Europe. Paleolithic art.

UVAP.

Bégouën, Henry, 1928. “Empreintes de Doigts et Quelques Desins” in Institut International d’Anthropologie IIIE Session. Amsterdam. 20–29 Septembre 1927, 335–38, Library E. Nourry, Paris, France.

France. Europe. Paleolithic art. Finger trace motif(s).

UVAP.

Bégouën, Compte Henry, 1929 (March). “The Magic Origin of Prehistoric Art” in Antiquity 5–19, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

France. Europe. Paleolithic art. Magic origins.

ARP.

Bégouën, Henry, 1929. “A propos de l’Idee de Fecondite dans l’Iconograpie Prehistorique” in Bulletin de la Société Préhistorique Française 26: 197–99, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1929_num_26_3_6693 (accessed on 17 October 2011).

France. Europe. Paleolithic art. Fertility.

Biblio, PAPPM, Persee.

Bégouën, Henry, 1933. “A propos d’un Os Orne de la Caverne des Trois-Freres” in Quelques Reflexions de Psychologie Artistique 43(1–3): 64–68, Festschrift de P.W. Schmidt, Vienna, Austria.

Trois Freres, Montesquieu-Anvantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone.

UVAP.

Bégouën, Compte Henry, 1939 (April 1). “Les Bases Magiques de l’Art Prehistorique” in Scientia (serie IV, vol. XXXIII), Vol. LXV(CCCXXVI): 206–16.

France. Europe. Paleolithic art. Magic origins.

Biblio.

Bégouën, Cte. H., 1941. “La Grotte de Baume-Latrone” in Mem. de la Societe Archaeologie du Midi de la France XX: 101–30.

LA BAUME-LATRONE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. 12 FIGURES. 8 PLATES.

FHCCA.

Bégouën, Henry, 1951. “Un “Objet Orne” en Forme de Tete d’Ours Provenant de la Caverne des Trois-Freres” in Bulletin de la Société Préhistorique Ariège-Pyrénées 6: 31–32, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Trois-Freres, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Bear head motif(s).

UVAP.

Bégouën, H., and H. Breuil, 1928. “Les Ours Desguises de la Caverne des Trois Freres (Ariege)” in Publication d’Hommage pour le Pere Schmidt 777–80, Festschrift de P.W. Schmidt, Vienna, Austria.

LES TROIS FRERES, MONTESQUIEU-AVANTES, ARIEGE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. BEAR MOTIF(S). 3 FIGURES.

FHCCA, Biblio.

Begouën, Comte, and Breuil, Abbé H., 1933. “De la Protection des Grottes Préhistoriques” in Bulletin de la Société Préhistorique Française 30: 235–38, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1933_num_30_4_12155 (accessed on 17 October 2011).

France. Spain. Europe. Paleolithic cave art. Cultural resource management. Conservation and preservation.

Persee.

Bégouën, H., and Breuil, H., 1934. “De Quelques Figures Hybrides, Mi-Humaines, Mi-Animales de la Caverne des Trois-Freres (Ariege)” in Revue Anthropologique 44: 115–19.

Les Trois-Freres, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic cave art. Half human - half animal (therianthrope) hybrid motif(s). 2 figures.

FHCCA, Biblio.

Bégouën, H., and Breuil, H., 1958. Les Cavernes du Volp. Tres Freres Tuc d’Audoubert Travaux de l’Institut de Paléontologie Humaine. 123 pgs, Arts et Metiers Graphiques, Paris, France.

Tres Freres, Tuc d’Audoubert, Volp, France. Europe. Paleolithic cave art.

Biblio, Melvyl (UCB Anthropol: Call No: N5310 .B43 *c2 copies: ), LMRAA.

Bégouën, Henry, and Vallois, Henri V., 1928. “Etude de Empreints de Pieds Humains du Tuc d’Audoubert, Cabrerets et de Ganties” in Institut International d’Anthropologie IIIE Session. Amsterdam. 20–29 Septembre 1927, 323–337, Library E. Nourry, Paris, France.

Tuc d’Audoubert, Cabrerets, and Ganties, France. Europe. Paleolithic art. Human foot prints.

UVAP, Biblio.

Bégouën, Louis, 1939. “Peirres Gravees et Peintes de l’Epoque Magdalenienne”“ in Melanges de Prehistoire et d’Anthropologie Offerts par Ses Collegues, Amis et Disciples au Professor Compte H. Begouen, J. Marsan, H.Delsol, L.-G. Boursiac, et al, 289–305, Editions du Museum, Toulouse, France.

Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art. Engraved stone.

UVAP.

Bégouën, Max, 1925. Les Bisons d’Argile. 252 pgs, Fayard, Paris, France.

Montesquieu-Avantes, France. Europe. Paleolithic art. Clay sculpture. Bison motif(s). Fantasy, fiction.

UVAP.

Bégouën, Max, 1926. Bisons of Clay. 252 pgs, Longmans Green and Company, New York, New York.

Montesquieu-Avantes, France. Europe. Paleolithic art. Clay sculpture. Bison motif(s). Fantasy, fiction. From the dust jacket- “The story of the Lynx and the Amazon chief Spring-on-the-Prairie brings up from buried years the superstition, cruelty and poetic yearning of what was until recently a lost world.”.

UVAP.

Bégouën, M., 1971. “Dessins Abstraits et Figurations en Perspectives Tordues” in Bulletin de la Societe Prehistorique de l’Ariege 26: 93–94, Societe Prehistorique de l’Ariege, Tarascon-sur-Ariege, France.

France. Europe. Paleolithic cave art. Abstract, twisted perspective motif(s).

UVAP.

Bégouën, Robert, 1984. “Les Bisons d’Argile du Tuc d’Audoubert” in Les Premiers Artistes Derniers Chasseurs de la Prehistoire. Lascaux, Altamira, Lex Eyzies, Niaux, Roufignac, Les Dossiers Histoire et Archeologie, (87): 77–79, Editions Faton, Dijon, France.

Tuc d’Audoubert, France. Europe. Paleolithic art. Bison motif(s). Discovery and early research.

LMRAA.

Bégouën, R., 1989. “Projet d’Etude Globale les Cavernes du Volp: Enlene, Les Trois-Freres, Le Tuc-D’Audoubert” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 161-162, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Cavernes du Volp: Enlene, Les Trois-Freres, Le Tuc-D’Audoubert, France. Europe. Prehistoric art. Paleolithic art.

LMRAA.

Bégouën, Robert, 1993. “Les Animaux Composites” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 201–6, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Composite animal motif(s).

Biblio, LMRAA.

Bégouën, Robert, 2007. “La Gestion et la Conservation des Cavernes du Volp” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 62: 47–56, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Cavernes du Volp, France. Europe. Paleolithic art.

DialNet.

Bégouën, Robert, 2007 (November–December). “Les Magdaléniens Modelaient Aussi l’Argile” in Les Grottes Ornées en France Les Dossiers de Archéologie (324): 30–37, Editions Faton, Dijon, France. ISSN: 1141-7137.

Tuc d’Audoubert, Ariège, France, Europe. Paleolithic art. Magdalenian. Clay sculpture.

Abstract: “Découverte en 1912, la vaste caverne du Tuc d’Audoubert (Ariège) restait en grande partie inédite. Depuis 1992, une équipe s’est consacrée à l’étude exhaustive de ce site riche en art pariétal et en occupations humaines datées du Magdalénien moyen. Cet article propose un aperçu des principaux résultats qui feront l’objet d’une monographie à paraître en 2008.”

Internet.

Bégouën, Robert, Berke, Hubert and Pastoors, Andreas, 2012. “L’Abri du Rhinocéros à Montesquieu-Avantès (France)” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 67: 15–26, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

http://gallica.bnf.fr/ark:/12148/bpt6k96307616/f7.image (accessed on 23 July 2017).

Montesquieu-Avantès, France. Europe. Paleolithic art.

Dialnet.

Bégouën, Robert, Briois, Francois, Clottes, Jean and Servelle, Christian, 1982. “Art Mobilier sur Support Lithique du Tud d’Audubert, a Montesquieu-Avantes (Ariege)” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 37: 15–60, Societe Prehistorique de l’Ariege, Toulouse, France.

Tud d’Audubert, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Portable (mobiliary) art. Engraved plaquettes.

UVAP.

Bégouën, R., Briois, F., Clottes, J. and Servelle, C., 1984–1985. “Art Mobilier sur Support Lithique d’Enlene (Montesquieu—Avantes, Ariege). Collection Beguoen du Musee de l’Homme” in ARS Praehistorica 3–4: 25–80, Editorial Ausa, Sabadell, Spain.

Enlene, Montesquieu - Avantes, Ariege, France, Europe. Paleolithic cave art. Mobiliary (portable) art.

ICOMOS, Biblio,

Bégouën, Robert, Brios, Francois, Clottes, Jean and Servelle, Christian, 2015. “2.7 Art Mobilier sur Support Lithique du Tud d’Audubert, a Montesquieu-Avantes (Ariege)” in Une Vie d’Art Prehistorique L’Homme des Origines, 289–316, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Tud d’Audubert, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaquettes. (Reprint from Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège, 1982, 37, 15-60).

LMRAA

Bégouën, R., Brios, R. Clottes, J. and Servelle, C., 2015. “2.13 Art Mobilier sur Support Lithique d’Enlene (Montesquieu—Avantes, Ariege). Collection Beguoen du Musee de l’Homme” in Une Vie d’Art Prehistorique L’Homme des Origines, 346–397, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaquette. Human and animal motif(s). (Reprint from ARS Praehistorica,1984 - 1985, 3-4, 25-80).

LMRAA.

Bégouën, R., and Clottes, J., 1979. “Le Baton au Saumon d’Enlene (Montesquieu - Avantes, Ariege)” in Bulletin de la Societe Prehistorique Ariege-Pyrenees XXXIV: 5–13, Societe Prehistorique de l’Ariege, Toulouse, France.

Enlene, Montesquieu—Avantes, Ariege, France. Europe. Paleolithic cave art. Salmon motif(s).

Biblio, ICOMOS.

Bégouën, Robert, and Clottes, Jean, 1979. “Galet Gravé de la Caverne d’Enlène, à Montesquieu-Avantès (Ariège)” in Caesaraugusta: Publicaciones del Seminario de Arqueologia y Numismatica Aragonesas 49–50: 57–64, Institución Fernando el Católico, Zaragoza, Spain. ISSN: 0007-9502.

Enlène, Montesquieu-Avantès, Ariège, France. Europe. Paleolithic art. Engraved roller. Mobiliary (portable) art.

ICOMOS, Dialnet.

Bégouën, Robert, and Clottes, Jean, 1981. “Apports Mobiliers dans les Cavernes du Volp: (Enlene, Les Trois Frères, Le Tuc d’ Audoubert)” in Altamira Symposium. Actas del Symposium Internacional Sobre Arte Prehistorico. Madrid, Asturias, Santander, 1979, 157–88, Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, Madrid, Spain. ISBN: 84-7483-182-2.

Enlene, Les Trois Frères, Le Tuc d’ Audoubert, Volp, France. Europe. Paleolithic art. Mobiliary (portable) art.

Dialnet, Biblio.

Bégouën, Robert, and Clottes, Jean, 1981. “Nouvelles Fouilles dans la Salle des Morts de la Caverne d’Enlene, a Montequieu-Avantes (Ariege)” in Congrès Préhistorique de France-21e Session (3–9 Septembre 1979). Préhistoire du Quercy dans le Contexte du Midi-Pyrénées, 33–57, Société Préhistorique Française, CNRS Editions, Paris, France.

Caverne d’Enlene, Montequieu-Avantes, Ariege, France. Europe Paleolithic art. Archaeological context.

UVAP.

Bégouën, Robert, and Clottes, Jean, 1983. “A propos d’une Datation Radiocarbone de l’Habitat Magdalénien du Tuc d’Audoubert” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 37: 119–22, Societe Prehistorique de l’Ariege, Toulouse, France.

Tud d’Audubert, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Radiocarbon date. Magdalenian.

IIA.

Bégouën, Robert, and Clottes, Jean, 1984. “Un Cas d’Erotisme Prehistorique” in La Recherche 57: 992–95, Sophia Publications, Paris, France.

Enlene, France. Europe. Paleolithic cave art. Eroticism (sexuality).

ICOMOS, Biblio.

Bégouën, Robert, and Clottes, Jean, 1984. “Grotte des Trois-Freres” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 400–9, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte des Trois Freres, Midi-Pyrenees, France. Europe. Paleolithic cave art. Animal, bear, mammoth, horse, bird, deer, ibex, feline, conflated human (sorcerer, therianthrope) motif(s).

UVAP, LMRAA.

Bégouën, Robert, and Clottes, Jean, 1984. “Grotte du Tuc d’Audoubert” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 410–15, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte du Tuc d’Audoubert, Midi-Pyrenees, France. Europe. Paleolithic cave art. Animal, bison, horse, claviform, vulva, fantastic animal motif(s).

UVAP, LMRAA.

Bégouën, Robert, and Clottes, Jean, 1986–1987. “Le Grand Felin des Trois-Freres” in Antiquités Nationales 18–19: 109–13.

Trois-Freres, Midi-Pyrenees, France. Europe. Paleolithic art. Feline motif(s).

UVAP.

Bégouën, Robert and Clottes, Jean, 1988. “Materiaux pour Servir a l’Histoire de Montespan” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 43: 13–33, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Montespan, France. Europe. Paleolithic art. Clay model. Sculpture.

Biblio, Internet.

Bégouën, Robert, and Clottes, Jean, 1991. “Portable and Wall Art in the Volp Caves, Montesquieu-Avantes (Arieges)” in Proceedings of the Prehistoric Society 57(Pt. 1): 65–79, The Prehistoric Society, London, England. ISBN: 901286628 1.

VOLP CAVES, MONTESQUIEU-AVANTES, ARIEGE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTING. PORTABLE ART.

Biblio, ICOMOS, Internet, LMRAA

Bégouën, Robert, and Clottes, Jean, 1993. “Montesquieu-Avantès. Grotte du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1992, 30–31.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, and Clottes, Jean, 1994. “Montesquieu-Avantès. Grotte du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1993, 36.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, and Clottes, Jean, 1995. “Les Humains dans les Cavernes du Volp” in La Dame de Brassempouy, Actes du Colloque de Brassempouy, Julliet 1994, Liege Etudes et Recherches Archeologiques de l’Universite de Liege, (ERAUL), vol. 74: 29–40, Museum National d’Histoire Naturelle.

Cavernes du Volp, Ariege, France. Europe. Paleolithic art. Human motif(s).

UVAP.

Bégouën, Robert, and Clottes, Jean, 1995. “Montesquieu-Avantès. Grotte du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1994, 33–34.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, and Clottes, Jean, 2008. “Douze Nouvelles Plaquettes d’Enlene” in Espacio, Tiempo y Forma, Serie I, Nueva Epoca. Prehistoria y Arqueologia 1: 77–92, Universidad Nacional de Educación a Distancia (España). Facultad de Geografía e Historia (UNED), ISSN: 1131-7698.

http://revistas.uned.es/index.php/ETFI/article/view/1931/1807 (accessed on 6 May 2016).

Caverne de Enlene, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Human and animal motif(s).

Abstract: “The choice of this paper for a Festshrift to the memory of our regretted friend Profesor Eduardo Ripoll is not due to chance. This is because the only paper in which we have presented numerous engraved plaquettes (31 in all) from Enlène, in all their details (descriptions as complete as possible, tracings and photographs) as we are doing here, was published in the prestigious series he had created, edited and of which he was justly proud, Ars Praehistorica (Bégouën et al., 1984/5).”

UVAP, Internet.

Bégouën, Robert, and Clottes, Jean, 2013. “Quelques Objets d’Art sur Support Osseux d’Enlene” in F. Javier Fortea Perez, Universitatis Ovetensis Magister. Estudios en Homenaje, Marco de la Rasilla Vives, dir., 287–304, Universidad de Oviedo, Ediciones de la Universidad de Oviedo, Oviedo, Spain. ISBN: 978-84-8317-983-3, 978-84-940141-3-0.

Caverne de Enlene, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone.

UVAP.

Bégouën, Robert, and Clottes, Jean, 2015. “1.13 Materiaux pour Servir a l’Histoire de Montespan” in Une Vie d’Art Prehistorique L’Homme des Origines, 121–34, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Montespan, France. Europe. Paleolithic art. Rock feature incorporation. (Reprint from Bulletin de la Société Préhistorique Ariège-, 1998, 43: 13–33).

LMRAA.

Bégouën, Robert, and Clottes, Jean, 2015. “2.6 Apports Mobiliers dans les Cavernes du Volp: (Les Trois Frères, Le Tuc d’ Audoubert)” in Une Vie d’Art Prehistorique L’Homme des Origines, 261–88, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Enlene, Les Trois Frères, Le Tuc d’ Audoubert, Cavernes du Volp, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone. (Reprint from Altamira Symposium. Actas del Symposium Internacional Sobre Arte Prehistorico, 1981. Madrid, Asturias, Santander, 1979, 157-188).

LMRAA.

Bégouën, Robert, and Clottes, Jean, 2015. “2.8 Nouvelles Fouilles dans la Salle des Morts de la Caverne d’Enlene, a Montequieu-Avantes (Ariege)” in Une Vie d’Art Prehistorique L’Homme des Origines, 317–20, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Archaeological context. (Reprint from Congrès Préhistorique de France-21e Session (3–9 Septembre 1979). Préhistoire du Quercy dans le Contexte du Midi-Pyrénées, 33–57).

LMRAA.

Bégouën, Robert, and Clottes, Jean, 2015. “2.9 Galet Gravé de la Caverne d’Enlène, à Montesquieu-Avantès (Ariège)” in Une Vie d’Art Prehistorique L’Homme des Origines, 321–24, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved pebble. (Reprint from Caesaraugusta: Publicaciones del Seminario de Arqueologia y Numismatica Aragonesas, 1979, 49–50: 57–64).

LMRAA.

Bégouën, Robert, and Clottes, Jean, 2015. “2.10 Le Baton au Saumon d’Enlene (Montesquieu—Avantes, Ariege)” in Une Vie d’Art Prehistorique L’Homme des Origines, 325–28, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone. Salmon (fish) motif(s). (Reprint from Prehistorie Ariegeoise, 1979, XXXIV: 5–13).

LMRAA.

Bégouën, Robert, and Clottes, Jean, 2015. “2.14 Complements aux Plaquettes Gravees d’Enlene” in Une Vie d’Art Prehistorique L’Homme des Origines, 398–414, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaquette. Human and animal motif(s). (Reprint from Cuadernos de Arte Rupestre, 2007, 4, 51–80).

LMRAA.

Bégouën, Robert, and Clottes, Jean, 2015. “2.15 Douze Nouvelles Plaquettes d’Enlene” in Une Vie d’Art Prehistorique L’Homme des Origines, 415–30, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaquette. Animal motif(s). (Reprint from Espacio, Tiempo y Forma, Serie I, Nueva Epoca. Prehistoria y Arqueologia, 2008, 1, 77–92).

LMRAA.

Bégouën, Robert and Clottes, Jean, 2015. “2.16 Quelques Objets d’Art sur Support Osseux d’Enlene” in Une Vie d’Art Prehistorique L’Homme des Origines, 431–449, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone. (Reprint from F. Javier Fortea Perez, Universitatis Ovetensis Magister. Estudios en Homenaje, Marco de la Rasilla Vives, dir., 2013, 287–304, Universidad de Oviedo, Ediciones de la Universidad de Oviedo, Oviedo, Spain).

LMRAA.

Bégouën, Robert and Clottes, Jean, 2015. “3.10 Grotte des Trois-Freres” in Une Vie d’Art Prehistorique L’Homme des Origines, 642–657, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Trois Freres, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 400–409).

LMRAA.

Bégouën, Robert and Clottes, Jean, 2015. “3.11 Le Grand Felin des Trois-Freres” in Une Vie d’Art Prehistorique L’Homme des Origines, 658–63, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Trois-Freres, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from Antiquities Nationales, 1986-1987, 18–19, 109–113).

LMRAA.

Bégouën, Robert and Clottes, Jean, 2015. “3.12 Grotte du Tuc d’Audoubert” in Une Vie d’Art Prehistorique L’Homme des Origines, 664–74, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte du Tuc d’Audoubert, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 410–415, Ministere de la Culture: Imprimerie Nationale, Paris, France).

LMRAA.

Bégouën, Robert and Clottes, Jean, 2015. “4.4 Art Mobilier et Art Parietal dans les Cavernes du Volp” in Une Vie d’Art Prehistorique L’Homme des Origines, 791–810, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Tuc d’Audubert, Enlene, Trois Freres, Cavernes du Volp, France. Europe. Paleolithic art. Mobiliary (portable) art. (Reprint from L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16-21, Nov. 1987, Jean Clottes, ed., 1990, 157–172, Ministere de la Culture, Foix, France).

LMRAA.

Bégouën, Robert and Clottes, Jean, 2015. “4.15 Les Humains dans les Cavernes du Volp” in Une Vie d’Art Prehistorique L’Homme des Origines, 939–944, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Cavernes du Volp, Ariege, France. Europe. Paleolithic art. Feline motif(s). Including Mobiliary (portable) art. (Reprint from La Dame de Brassempouy, Actes du Colloque de Brassempouy, Julliet 1994, Liege, ERAUL, 74, 29–40).

LMRAA.

Bégouën, Robert, Clottes, Jean and Delporte, Henri, 1977. “Le Retour du Petit Bison au Tuc d’Audoubert” in Bulletin de la Société Préhistorique Française 74: 112–20, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1977_num_74_4_8491# (accessed on 13 October 2011).

Tuc d’Audoubert, à Montesquieu- Avantès, Ariège, France. Europe. Paleolithic art. Bison motif(s). Modelled clay. Facsimile. Cultural resource management. Conservation and preservation.

Persee.

Bégouën, R., Clottes, J. and Delporte, H., 1984–1985. “Art Mobilier sur Support Lithique d’Enlene” in Bulletin Societe Prehistoire Francais 74: 112–20.

Enlene, France. Europe. Portable art (mobiliary art). Paleolithic art.

Biblio.

Bégouën, Robert, Clottes, Jean, Faist, Francois, Fritz, Carole, Tosello, Gilles and Pastoors, Andreas, 1996. “Montesquieu-Avantès. Grotte du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1995, 37–39.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, Clottes, Jean, Faist, Francois, Fritz, Carole, Tosello, Gilles and Pastoors, Andreas, 1997. “Montesquieu-Avantès. Grotte du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1996, 37–39.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, Clottes, Jean, Faist, Francois, Fritz, Carole, Tosello, Gilles and Pastoors, Andreas, 1999. “Montesquieu-Avantès. Grotte du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1998, 37–39.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, Clottes, Jean, Faist, Francois, Fritz, Carole, Tosello, Gilles and Pastoors, Andreas, 2000. “Montesquieu-Avantès. Caverne du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 1999, 32–33.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, Clottes, Jean, Feruglio, Valerie and Pastoors, Andreas, 2014. La Caverne des Trois-Freres. Anthologie d’un Exceptionnel Sanctuaire Prehistorique. 248 pgs, Somogy Editions d’Art, Paris, France. EAN : 9782757206447.

Trois-Freres, France. Europe. Paleolithic art.

Abstract: “La grotte des Trois-Frères fait partie des trois Cavernes du Volp, qui forment un ensemble archéologique unique. Avec plus de 1 300 gravures et peintures, elle représente à elle seule plus de la moitié du corpus pariétal des Pyrénées ariégeoises. La figure du Sorcier, peinte et gravée, est universellement connue et demeure l’une des icônes les plus populaires de l’art préhistorique. Grâce aux membres de la famille Bégouën, inventeurs et propriétaires de la caverne, celle-ci est demeurée quasiment intacte à ce jour, cent ans après sa découverte en 1914. Cet ouvrage retrace fidèlement son histoire, les règles strictes mises en place dès l’origine pour sa conservation, et les diverses recherches qui y furent effectuées, dont certaines sont inédites. Enfin, il permet une visite détaillée de la grotte, offrant pour la première fois une vue d’ensemble de ce magnifique sanctuaire préhistorique.”

Academia.edu, Internet, Biblio, LMRAA.

Bégouën, R., Clottes, J., Giraud, J.P. and Rouzaud, F., 1982. “Plaquette Gravee d’Enlene Montesquieu Avantes (Ariege)” in Bulletin de la Société Préhistorique Française 79: 103–9, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1982_num_79_4_5370 (accessed on 10 October 2011).

Enlene, Montesquieu Avantes, Ariege, France. Europe Paleolithic cave art. Mobiliary (portable) art.

ICOMOS, Persee, Biblio.

Bégouën, Robert, Clottes, Jean, Giraud, Jean-Pierre and Rouzaud, Francois, 1984. “Compléments à la Grande Plaquette Gravée d’Enlène” in Bulletin de la Société Préhistorique Française 81: 142–48, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1984_num_81_5_8771 (accessed on 9 October 2011).

Enlène, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved stone plaque.

Persee, Biblio.

Bégouën, R., Clottes, J., Giraud, J.P. and Rouzaud, F., 1986. “Le Propulseur au Saiga d’Enlene” in Bulletin de la Société Préhistorique de l’Ariège 41: 3–14, Société Préhistorique de l’Ariège, Tarascon-sur-Ariege. ISSN: 0245-9523.

Enlene, France. Europe. Paleolithic cave art.

ICOMOS.

Bégouën, Robert, Clottes, Jean, Giraud, Jean-Pierre and Rouzaud, Francois, 1987. “Un Bison Sculpte en Gres a Enlene” in Bulletin de la Societe Meridionale de Speleologie et de Prehistoire 27: 23–27.

Enlene, Ariege, France. Europe. Paleolithic art. Bison motif(s). Sculpted in sandstone.

UVAP.

Bégouën, R., Clottes, J., Giraud, J.P. and Rouzaud, F., 1988–1989. “La Rondelle au Bison d’Enlene (Montesquieu - Avantes, Ariege)” in Zephyrus: Revista de Prehistoria y Arqueología 41–42: 19–25, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/view/1831/1887 (accessed on 4 December 2011).

Enlene, Montesquieu - Avantes, Ariege, France. Europe. Paleolithic cave art. Animal, bison motif(s). Mobiliary (portable) art.

Abstract: “Une rondelle perforée en os, hors du commun par son décor, a été mise au jour dans une couche du Magdalénien moyen de la grotte d’Enléne. Sur la moitié d’une face un bison entier a été gravé. L’autre face présente un décor beaucoup plus fruste et n’était vraisemblablement pas destinée a étre vue. Cette rondelle, caractéristique du Magdalénien moyen, est replacée par les auteurs dans le contexte des objets de méme nature connus en France et dans les Asturies.”

ICOMOS, Internet, Biblio.

Bégouën, R., Clottes, J., Giraud, J.-P. and Rouzaud, F., 1989. “Les Foyers de la Caverne d’Enlene (Montesquieu-Avantes, Ariege)” in Actes du Colloque de Nemours (1987), Memoires du Musee de Prehistoire d’Ile-de-France, 167–169.

Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art.

UVAP.

Bégouën, Robert, Clottes, Jean Giraud, Jean-Marie and Rouzaud, François, 1989. “Escultura de Bisonte en Arenisca del Yacimiento de Enlène (Montesquieu-Avantès, Ariége, Francia)” in Cien Años Después de Sautuola: Estudios en Homenaje a Marcelino Sanz de Sautuola en el Centenario de su Muerte, González Morales, Manuel R., ed. Estudios de Cantabria, vol. 1: 115–130, Diputacion Regional de Cantabria, Consejería de Cultura, Educación y Deporte, Santander, Spain. ISBN: 84-85349-86-5.

Enlène, Montesquieu-Avantès, Ariége, France. Europe. Sculpture. Paleolithic art. Bison motif(s).

Dialnet, Biblio (cites 117–129).

Bégouën, R., Clottes, J., Giraud, J.-P. and Rouzaud, F., 1996. “Os Plantés et Peintures Rupestres dans la Caverne d’Enlène” in Pyrénées Préhistoriques: Arts et Sociétés: Actes du 118e Congrès National des Sociétés Historiques et Scientifiques, [Commission de Pré- et Protohistoire, Pau, 25–29 October 1993], Henri Delporte and Jean Clottes, eds., 283–306, Les Editions du CTHS, Paris, France. ISBN: 2735503291 9782735503292.

Enlene, France. Europe. Paleolithic art.

Internet, Biblio.

Begouen, R., Clottes, J., Giraud, J.-P. and Rouzuad, F., 1996. “Enlene (Montesquieu-Avantes, Ariege)” in L’Art Prehistorique des Pyrenees. Catalogue d’Exposition, Paris, Musee des Antiquities Nationales, Reunion des Musees Nationaux, 182–190, ISBN: 2711833755 9782711833757. Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art.

UVAP.

Bégouën, R., Clottes, J. Girard, J.P. and Rouzaud, F., 2015. “2.11 Plaquette Gravee d’Enlene Montesquieu Avantes (Ariege)” in Une Vie d’Art Prehistorique L’Homme des Origines, 329–338, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaquette. (Reprint from Bulletin de la Société Préhistorique Française, 1982, 79(4): 103–109).

LMRAA.

Bégouën, Robert, Clottes, Jean, Girard, Jean-Pierre and Rouzaud, Francois, 2015. “2.12 Compléments à la Grande Plaquette Gravée d’Enlène” in Une Vie d’Art Prehistorique L’Homme des Origines, 339–345, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved

plaquette. (Reprint from Bulletin de la Société Préhistorique Française, 1984, 81(5): 142–148).

LMRAA.

Bégouën, R., Clottes, J., Giraud, J.P. and Rouzaud, F., 2015. “2.17 Le Propulseur au Saiga d’Enlene” in Une Vie d’Art Prehistorique L’Homme des Origines, 450–457, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Carved atlatl from Saiga Antelope bone. (Reprint from Bulletin de la Société Préhistorique de l’Ariège, 1986, 41, 3–14).

LMRAA.

Bégouën, Robert, Clottes, Jean, Giraud, Jean-Pierre and Rouzaud, Francois, 2015. “2.18 Un Bison Sculpte en Gres a Enlene” in Une Vie d’Art Prehistorique L’Homme des Origines, 458–462, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Enlene, Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Bison motif(s). Sculped in sandstone. (Reprint from Bulletin de la Societe Meridionale de Speleologie et de Prehistoire 1987, 27: 23–27).

LMRAA.

Bégouën, Robert, Clottes, Jean, Giraud, Jean-Pierre and Rouzaud, Francois, 2015. “2.19 La Rondelle au Bison d’Enlene (Montesquieu—Avantes, Ariege)” in Une Vie d’Art Prehistorique L’Homme des Origines, 463–469, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Montesquieu-Avantes, Ariege, France. Europe. Paleolithic art. Bison motif(s). Mobiliary (portable) art. Round disk (rondelle). (Reprint from Zephyrus: Revista de Prehistoria y Arqueología, 1988–1989, 41–42: 19–25).

LMRAA.

Bégouën, R., Clottes, J., Giraud, J.-P. and Rouzaud, F., 2015. “4.21 Os Plantés et Peintures Rupestres dans la Caverne d’Enlène” in Une Vie d’Art Prehistorique L’Homme des Origines, 993–1008, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Caverne d’Enlene, Ariege, France. Europe. Paleolithic art. Archaeological context. Flint blades. (Reprint from Pyrénées Préhistoriques: Arts et Sociétés: Actes du 118e Congrès National des Sociétés Historiques et Scientifiques, [Commission de Pré- et Protohistoire, Pau, 25–29 Octobre 1993], 1996, Henri Delporte and Jean Clottes, eds., 283–306, Les Editions du CTHS, Paris, France).

LMRAA.

Bégouën, Robert, Fritz, Carole and Tosello, Gilles, 2012. “Chapter 21: Parietal Art and Archaeological Context: Activities of the Magdalenians in the Cave of Tuc d’Audoubert” in A Companion to Rock Art, Jo McDonald and Peter Veth, eds. Companions to Archaeology, 364–380, Wiley-Blackwell Publishing, ISBN: 10: 1444334247 ISBN: 13: 9781444334241.

Tuc d’Audoubert, France. Europe. Paleolithic art. Magdalenian. Archaeological context.

LMRAA.

Bégouën, Robert, Fritz, Carole, Tosello, Gilles, Clottes, Jean, Faist, Francois and Pastoors, Andreas, 2001. “Montesquieu-Avantès. Caverne du Tuc d’Audoubert, Sondages” in Bilan Scientifique de la Region Midi-Pyrenees, 2000, 24–25.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, Fritz, Carole, Tosello, Gilles, Clottes, Jean, Faist, Francois and Pastoors Andreas, 2005. “Montesquieu-Avantès. Caverne du Tuc d’Audoubert, Topographie et Relevés” in Bilan Scientifique de la Region Midi-Pyrenees, 2001, 25–26.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, Robert, Fritz, Carole, Tosello, Gilles, Clottes, Jean, Faist, Francois and Pastoors Andreas, 2005. “Montesquieu-Avantès. Caverne du Tuc d’Audoubert, Sondages” in Bilan Scientifique de la Region Midi-Pyrenees, 2001, 27.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Begouen, R., Fritz, C., Tosello, G., Clottes, J., Pastoors, A., Faist, F., Lacombe, S. and Fosse, P., 2007. “Les Magdaleniens Modelaient Aussi l’Argile” in Les Dossiers d’Archeologie (324): 30–37.

France. Europe. Paleolithic art. Magdalenian. Clay sculpture.

Biblio.

Bégouën, Robert, Fritz, Carole, Tosello, Gilles, Clottes, Jean, Faist, Francoise, Pastoors, Andreas, Fosse, Philippe, Langlais, Mathieu and Lacombe, Sebastien, 2009. “L’Art et la Vie des Magdaleniens au Tuc d’Audoubert” in Le Sanctuaire Secret des Bisons. Il y a 14,000 Ans dans la Caverne du Tuc d’Audoubert, 59–306, Editions d’Art Somogy and Louis Bégouën Association, Paris, France. ISBN: 978-27572-0203-6.

Tuc d’Audoubert, France. Europe. Topography. Motifs. Paleolithic art. Magdalenian.

LMRAA.

Bégouën, Robert, Fritz, Carole, Tosello, Gilles, Clottes, Jean, Faist, Francois, Pastoors, Andreas and Hansen, Jörg, 2001. “Montesquieu-Avantès. Caverne du Tuc d’Audoubert, Topographie et Relevés” in Bilan Scientifique de la Region Midi-Pyrenees, 2000, 22–24.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Bégouën, R., Fritz, C., Tosello, G., Clottes, J., Pastoors, A. and Faist, F., 2009. Le Sanctuaire Secret des Bisons. Il y a 14,000 Ans dans la Caverne du Tuc d’Audoubert. 416 pgs, Editions d’Art Somogy and Louis Bégouën Association, Paris, France. ISBN: 978-27572-0203-6.

Tuc d’Audoubert, France. Europe. History of research. Cultural resource management. Conservation and preservation. Magdalenian. Paleolithic art. Animal, bison motif(s). Mobiliary (portable) art. Plaquettes. Clay modelling.

Biblio, CREAP, LMRAA, RASNW4.

Bégouën, Robert et al., 2006. “Montesquieu-Avantès. Caverne du Tuc d’Audoubert” in Bilan Scientifique de la Region Midi-Pyrenees, 2003, 27, Toulouse, France.

Montesquieu-Avantès, Grotte du Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

IIA.

Beldiman, Corneliu and Sztancs, Diana-Maria, 2007. “Le Comportament Symbolique dans la Prehistoire de la Roumanie: Art Mobilier au Paleolithique Superieur en Moldavie” in Zephyrus: Revista de Prehistoria y Arqueología 60: 59–77, Universidad de Salamanca, ISSN: 0514-7336.

Moldavia, Romania. Central Europe. Paleolithic art. Mobiliary (portable) art. Decorated bone and shell objects.

Dialnet.

Belfer-Cohen, Anna and Bar-Yosef, Ofer, 2010. “First Things First: Abstract and Figurative Artistic Expressions in the Levant” in An Enquiring Mind: Studies in Honor of Alexander Marshack, Paul Bahn, ed. American School of Prehistoric Research Monograph Series, 25–37, Oxbow Books, Oxford, England. ISBN: 9781842173831.

MIddle east. Paleolithic art. Levantine Natufian. Abstract, figurative motif(s). Chronology.

Internet, LMRAA.

Bello, S.M. and Delbarre, G., Parfitt, S.A., Currant, A.P., Kruszynski, R. and Stringer, C.B., 2014. “Lost and Found: The Remarkable Curatorial History of One of the Earliest Discoveries of Palaeolithic Portable Art” in Antiquity 87: 237–44, Antiquity Publications, Ltd., ISSN: 0003-598X, 1745-1744.

https://www.academia.edu/8897696/Lost_and_found_the_remarkable_curatorial_history_of_one_of_the_earliest_discoveries_of_Palaeolithic_portable_art (accessed on 11 June 2016).

Neschers, Puy-de-Dˆome, Auvergne region, France. Europe. Mobiliary (portable) art. Bone. Paleolithic art. Magdalenian. Horse motif(s).

RASNWV., Academia.edu.

Beltrán Martínez, A., 1957. “Las Pinturas de la Cueva de Rouffignac y la Polémica sobre su Autenticidad” in Caesaraugusta 9–10: 124–32, Institución Fernando el Católico, Zaragoza, Spain. ISSN: 0007-9502.

Rouffignac, France. Europe. Paleolithic art. Authenticity.

ABMARB.

Beltrán Martínez, A., 1964. “La Grotte de Kapova (Oural du Sud) et ses Peintures Paléolithiques” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 19: 41–47, Société Préhistorique de l’Ariège, Tarascon-sur-Ariége, France. ISSN: 0245-9523.

Kapova, Ural Mountains, Russia. Europe. Paleolithic art.

ABMARB.

Beltrán Martínez, A., 1964. “El Seminario de Arqueología en las Cuevas con Pinturas Rupestres del Ariege (Francia)” in Caesaraugusta 21–22: 178–84, Institución Fernando el Católico, Zaragoza, Spain. ISSN: 0007-9502.

Ariege, France. Europe. Paleolithic art.

ABMARB.

Beltrán Martínez, Antonio, 1966. “La Magia de Fecundidad en la Cueva de Le Portel” in Cronica del Congreso Arqueologico Nacional IX, 1965. Valladolid, 87–89, Congresos Arqueológicos Nacionales, Secretaría General.

Cueva de Le Portel, Spain. Europe. Paleolithic art. Magic. Fecundity (fertility).

Dialnet, ABMARB.

Beltrán Martínez, Antonio, 1967. “Novedades en el Arte Parietal de la Cueva de Bédeihac (Ariége)” in X Congreso Nacional de Arqueología, 1967, Mahón, 159–162.

Cueva de Bédeihac, Ariége, France. Europe. Paleolithic art.

Dialnet.

Beltran Martinez, A., 1968. “Notas sobre la Técnica de los Grabados de las Cuevas de los Casares y Altxerri” in Simposio Internacional de Arte Rupestre, Barcelona, 1966, E. Ripoll Perello, ed., 21–24, Diputacion Provincial de Barcelona, Instituto de Prehistoria y Arqueologia, Barcelona, Spain.

Cuevas de los Casares y Altxerri, Spain. Europe. Paleolithic art.

ABMARB, LMRAA.

Beltrán Martínez, A., 1968. “Sobre el Grabado Paleolítico en las Cuevas Pirenaicas” in V Congreso Internacional de Estudios Pirenaicos (Jaca-Pamplona, 1966), 51–52, Instituto de Estudios Pirenaicos.

Pyrennes, Spain. France. Europe. Paleolithic art.

ABMARB, Internet (cites date as 1969).

Beltran Martinez, A., 1968. “El Arte Cántabro Aquitano y su Proyección en el Ambito Prehistórico” in Altamira, Cumbre del Arte Prehistórico, 141–167, Instituto Español de Antropología Aplicada, Madrid, Spain.

Altamira, Santander, Spain. Europe. Paleolithic art.

ABMARB.

Beltrán Martínez, A., 1969. “Novedades en el Arte Parietal de la Cueva de Bédeilhac” in X Congreso Nacional de Arqueología (Mahón, 1967), 159–162, Congresos Arqueológicos Nacionales, Secretaría General.

Bedeilhac, Ariege, France. Europe. Paleolithic art.

ABMARB, Dialnet.

Beltrán Martínez, Antonio, 1969. “El Arte Parietal del Paleolítico Superior y el Hombre de Cromañon” in Symposium Conmemorativo del Descubrimiento del Hombre de Cromagnon. Anuario de Estudios Atlánticos 15: 245–56, Patronato de la Casa de Colón, ISSN: 0570-4065.

Europe. Cro-Magnon. Paleolithic art.

Dialnet, ABMARB.

Beltran, Antonio, 1972. “Las Vulvas y Otros Signos Rojos de la Cueva de Tito Bustillo (Ardines, Ribadsella, Asturias)” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 117–137, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Tito Bustillo, Ardines, Ribadsella, Asturias, Spain. Europe. Paleolithic cave art. Vulva, signs in red pigment motif(s). Female.

LMRAA, ABMARB.

Beltrán Martínez, Antonio, 1975. “Novedades en el Arte Paleolítico Español” in Crónica del XIII Congreso Arqueológico Nacional, 1973, Huelva, 133–138, Universidad de Zaragoza, Seminario de Arqueología, Zaragoza, Spain. ISBN: 84-400-8890-6.

Spain. Europe. Paleolithic art.

Dialnet, ABMARB

Beltrán Martínez, A., 1978. “Preistoria: Nuovi Dati sul Mondo Figurativo Paleolitico con Particolare Riguardo all’Europa Occidentale” in Enciclopedia Universale dell’Arte. Nuove Conoscenze e Perspettive del Mondo dell’Arte, 13–17, Rome, Italy.

Western Europe. Paleolithic art.

ABMARB

Beltrán Martínez, Antonio, 1978. “Estado Actual de los Problemas del Arte Paleolítico Europeo y Descubrimientos en los Ultimos Quince Años” in Curso de Arte Rupestre Paleolítico, 25–48, Universidad Internacional Menéndez Pelayo: Universidad de Zaragoza, ISBN: 84-600-1177-1.

Europe. Paleolithic art. Rock art studies.

Dialnet, ABMARB, Biblio.

Beltrán Martínez, Antonio, 1978. “Preistoria: Problemi Gennerali dell’Arte Paleolítica” in Enciclopedia Universale dell’Arte. Nuove Conoscenze e Perspettive del Mondo dell’Arte, 5–7, Rome, Italy.

Europe. Paleolithic art.

ABMARB.

Beltrán Martínez, Antonio, 1978. “Apéndice: Índice de Cuevas con Arte Parietal Paleolítico (Excluidas las de la Zona Cantábrica)” in Curso de Arte Rupestre Paleolítico, 195–210, Universidad Internacional Menéndez Pelayo: Universidad de Zaragoza, ISBN: 84-600-1177-1.

Spain (except Cantabria). Europe. Paleolithic art. Site index.

ABMARB.

Beltrán Martínez, Antonio, 1979. “Las Pinturas Rupestres de Colungo (Huesca): Problemas de Extensión y Relaciones entre el Arte Paleolítico y el Arte Levantino” in Caesaraugusta: Publicaciones del Seminario de Arqueologia y Numismatica Aragonesas 49–50: 81–88, Institución Fernando el Católico, ISSN: 0007-9502.

Colungo, Huesca, Spain. Europe. Paleolithic art. Levantine art.

Dialnet, BARAMP, ABMARB.

Beltran Martinez, A., 1980. “Las Pinturas Rupestres de Ojo Guareña” in La Pintura Rupestre en “Ojo Guareña”, Alberto C. Ibáñez Pérez Biblioteca Universitária Burgalesa 3: 5–7, Caja de Ahorros Municipal.

Cueva de Ojo Guareña, Burgos, Spain. Europe. Paleolithic art. Magdalenian.

Internet.

Beltran Martinez, A., 1981. “Relaciones del Arte Parietal Paleolítico y Postpaleolítico en España a la Luz de los Descubrimientos de Colungo (Huesca)” in X Congreso, Union International Sciences Pre-Protohistoriques, Mexico, 19–24 Octubre 1981, 53–59.

Colunga, Huesca, Spain. Europe. Paleolithic art. Post-paleolithic art.

ABMARB.

Beltrán Martínez, Antonio, 1981. “Consideraciones sobre los Orígenes del Arte Prehistórico en España” in Caesaraugusta: Publicaciones del Seminario de Arqueologia y Numismatica Aragonesas 53–54: 155–62, Institución Fernando el Católico, ISSN: 0007-9502.

Spain. Europe. Paleolithic art. Origins.

Dialnet.

Beltran Martinez, A., 1983. “La Valeur Religieuse des Figures Animales Incompletes ou Defectueuses dans l’Art Parietal du Paleolithique” in International Symposium of the Intellectual Expressions of Prehistoric Man: Art and Religion, Valcamonica, 28 July–3 August 1979, 321–322, Jaca Book and Centro Camuno di Studi Preistorici, Milan and Capo di Ponte, Italy.

Europe. Paleolithic art. Animal motif(s).

ICOMOS, ABMARB.

Beltran Martinez, A., 1984. “André Leroi-Gourhan y el Arte Prehistórico” in Arte y Grafismo en la Europa Prehistórica, A. Leroi-Gourhan and J.M. Gomez-Tabanera Artes Técnicas. Humanidades 4: 9–17, Madrid Istmo.

France. Europe. Rock art studies. Paleolithic art. André Leroi-Gourhan.

ABMARB, Internet.

Beltran Martinez, A., 1985. “El Arte Parietal Paleolítico Español: Estado de la Cuestión Según los Ultimos Descubrimientos” in Revista de Arqueologia VI(48): 28–37, Zugarto Ediciones, Madrid, Spain.

Spain. Europe. Paleolithic art.

ABMARB.

Beltran Martinez, Antonio, 1986–1987. “La Determinación de las Representaciones Humanas y de Animales en el Arte Rupestre Paleolítico” in I Congreso Internacional de Arte Rupestre, Caspe, Zaragoza, 1986–1987 Bajo Aragón, Prehistoria 7–8: 9–39, Grupo Cultural Caspolino, ISSN: 0210-6132.

Europe. Paleolithic art.

LMRAA, ABMARB.

Beltran Martinez, A., 1987. “Réflexions sur l’Art Mobilier du Magdalenien Final; L’Azilien et le Supposé Hiatus entre l’Art Paléolithique et l’Art Parietal du Levant Espagnol” in Colloque International L’Art des objects au paléolithique, (Foix-Mas d’Azil, 1987), Vol. 2: 101–103.

Europe. Paleolithic art. Levantine rock art. Chronology.

ABMARB,

Beltran, Antonio, 1988. “L’Art Prehistorique Espagnol: Nouveaux Horizons et Problemes. Etat de la Question” in Bollettino del Centro Camuno di Studi Preistorici 24: 13–44, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy. ISSN: 0577-2168.

Spain. Europe. Paleolithic art.

LMRAA, ABMARB.

Beltran Martinez, A., 1989. “Decouvertes Recentes en Espagne” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 69–78, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Spain. Europe. Prehistoric art. Paleolithic art. With discussion by F. Soleihavoup and A. Beltran.

LMRAA, ABMARB (cites pagination as 60–64).

Beltran Martinez, Antonio, 1989. “Perduración en el Arte Prehistórico del ‘Estilo Paleolítico’ Durante el Mesolítico y los Posibles Enlaces el ‘Levantino’’” in Colóquio Internacional de Arte Pré-Histórica nos 25 Anos da Descoberta da Gruta do Escoural, Montemor-o-Novo, 1988 Revista Almansor, vol. 7: 125–166, Montemor-o-Novo.

Europe. Paleolithic art. Levantine rock art. Persistence, continuity of style.

ABMARB, Dialnet.

Beltrán Martínez, Antonio, 1989. “El Arte Parietal y el Mobiliar entre el Paleolítico Final y el “Levantino”“ in Crónica del XIX Congreso Arqueológico Nacional, 1987, Valencia, vol. 2: 45–50, Universidad de Zaragoza, ISBN: 84-600-7262-2.

Spain. Europe. Late Paleolithic art. Levantine art. Mobiliary (portable) art.

Dialnet, ABMARB,

Beltran, Antonio, 1990. “Reflexions sur l’Art Mobilier Magdalenien Final et Azilien, et le Suppose Hiatus entre l’Art Paleolithique, l’Art Mesolithique et l’Art Parietal du Levant Espagnol” in L’Art des Objets au Paléolithique, vol. 2, Les Voies de la Recherche, Actes du Colloque de Foix-Le Mas d’Azil, 16–21, November 1987, Jean Clottes, dir., 101–103, Ministère de la Culture, Paris, France. ISBN: 2-11-085550-9.

Spain. Europe. Paleolithic art. Mobiliary (portable) art. Mesolithic. Azilian. Levantine rock art. Chronology.

LMRAA.

Beltrán Martínez, Antonio, 1990. “Arte Paleolítico Español” in Arte Prehistorico de la Provincia de Soria, José Luis Argente Oliver, coord., 13–28, Junta de Castilla y León, Consejería de Cultura y Turismo, ISBN: 84-7846-015-2.

Spain. Europe. Paleolithic art.

Dialnet, ABMARB,

Beltran Martinez, A., 1992. “Persistance dans l’Art Préhistorique Espagnol du ‘Style Paléolithique’ Pendant le Mésolithique. Liens Possibles avec le Style ‘Levantin’ et Séquence de ce Dernier Jusqu’à l’Art Shématique” in L’Anthropologie 96(2–3): 473–98, Masson, Paris, France. ISSN: 0003-5521.

Spain. Europe. Paleolithic art. Levantine rock art. Schematic rock art. Sylistic persistence.

ABMARB.

Beltran Martinez, Antonio, 1993. Arte Rupestre Preistorica. 112 pgs, Jaca Book, Milan, Italy. ISBN-9788816430501.

France. Spain. Europe. Paleolithic art.

ABMARB, Internet.

Beltran Martinez, A., 1994. “Algunas Consideraciones Críticas sobre el Origen del Arte Paleolítico en España a la Luz de Nuevos Descubrimientos” in Homenaje a Antonio Beltran Boletin del Museo de Zaragoza 13: 7–23, Museo de Zaragoza, ISSN: 0212-548X.

Spain. Europe. Paleolithic art.

ABMARB.

Beltran Martinez, A., 1994. “Símbolos Prehistóricos en los Grabados de Picasso; un Notable Caso de Convergencia de Ideas” in Boletín del Museo e Instituto Camón Aznar 40: 29–44.

Europe. Paleolithic art. Pablo Picasso.

ABMARB.

Beltran, Antonio, 1995. “New Paleolithic Paintings at Cieza (Murcia, Spain)” in International Newsletter on Rock Art (10): 8, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora10/inora-10.pdf (accessed on 22 April 2017).

CIEZA, MURCIA, SPAIN. EUROPE. PALEOLITHIC CAVE PAINTING.

LMRAA (PHOTO COPY), ABMARB

Beltran Martinez, A., 1996. “Algunas Breves Consideraciones sobre el Arte entre el Magdaleniense y la Edad del Bronce a Ambras Vertientes del Pirineo” in Pyrénées Préhistoriques: Arts et Sociétés: Actes du 118e Congrès National des Sociétés Historiques et Scientifiques, [Commission de Pré- et Protohistoire, Pau, 25–29 Octobre 1993], Henri Delporte and Jean Clottes, eds., 307–310, Les Editions du CTHS, Paris, France. ISBN: 2735503291 9782735503292.

Pyrenees. Spain. France. Europe. Paleolithic art. Magdalenian. Bronze Age.

ABMARB, Internet.

Beltrán Martínez, Antonio, 1998. “El Arte Prehistorico Espanol. Estado de la Cuestion en 1998” in BARA: Boletín de Arte Rupestre de Aragón 1: 21–39, Diputación General de Aragón: Departamento de Cultura y Turismo, Centro de Arte Rupestre “Antonio Beltrán”, Zaragoza, Spain. ISSN: 1139-9260.

Aragon, Spain. Europe. Rock art studies. Upper Paleolithic, macro-schematic, linear-geometric, levantine art. semi-naturalistic, schematic.

Biblio, Dialnet, LMRAA, ABMARB, ABMARB.

Beltran, Antonio, 1999. “Los Signos Abstractos y los Sîmbolos en el Arte Paleolîtico Ibérico y su Asociaciôn con las Imagenes Figurativas” in Bollettino del Centro Camuno di Studi Preistorici 31–32: 93–98, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy. ISSN: 0577-2168.

Iberia, Spain. Europe. Paleolithic art. Abstract sign, representational motif(s).

Abstract: “The term prehistoric rock art is the expression of ideas graphic artists and society to which they belong, it synthesizes the complexity of thoughts and feelings through drawings, signs and symbols of conventional meaning, established by artists. In the traditional doctrine was born a kind of opposition between schematically geometric and naturalistic world between abstract ideological and one practical. For the author it is not possible to oppose abstraction to realization, as both means of expression are inseparable and complementary opposition abstract-concrete is used in the tripartite division of the art Spanish rock (Paleolithic Levantine and Schematic) is misleading.”

Refdoc.fr.

Beltrán Martínez, Antonio, 1999. “Los Problemas del Paleolítico Superior en el Ambito Mediterráneo Peninsular. I. Consideraciones Generales sobre el Arte Rupestre de la Zona de Murcia” in Actas del XXIV Congreso Nacional de Arqueologia, Cartagena, 1997, Vol. 1: 23–32, Gobierno de la Región de Murcia, Instituto de Patrimonio Histórico, ISBN: 84-88570-26-0.

Murcia, Spain. Europe. Paleolithic art.

Dialnet, BARAMP, ABMARB.

Beltrán Martínez, Antonio, 2001. “Los Signos Abstractos y los Símbolos en el Arte Paleolítico Ibérico y su Asociación con las Imágenes Figurativas” in Semiótica del Arte Prehistórico 11–24, Diputación de Valencia, Servicio de Estudios Arqueológicos Valencianos.

Iberian Peninsula, Spain. Europe. Paleolithic art. Abstract sign, imaginative figure motif(s).

Dialnet.

Beltrán Martínez, A., 2002 (December). “Pinturas Auriñacienses de Fumane (Verona). Problemas de Autenticidad” in Cauce 12: 9–14.

Verona, Italy. Europe. Paleolithic art. Authenticity.

ABMARB.

Beltran Martinez, Antonio, 2002. “Rock Art in the Cave of Parpallo (Gandia, Valencia, Spain)” in International Newsletter on Rock Art (33): 7–11, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Parpallo, Gandia, Valencia, Spain. Southern Europe. Paleolithic art. Portable (mobiliary) art: painted plaquettes. Wall engraving of a horse has been discovered where previously only copious portable art was known for this cave.

LMRAA, ABMARB.

Beltran Martinez, Antonio, 2002. Mito, Misterio y Sacralidad. La Pintura Prehistórica Aragonesa Biblioteca Aragonesa de Cultura. vol. 9: 224 pgs, IberCaja, Institución “Fernando el Católico”, Zaragoza, Spain. ISBN: 8483241269, 9788483241264.

Aragon, Spain. Europe. Upper paleolithic art. Hand motif(s). Levantine. Schematic.

Biblio, ABMARB, Internet.

Beltran Martinez, A., 2003. “Classicisme et Crise dans les Idées sur l’Art Paléolithique Européen” in Bulletin de la Société Préhistorique Ariège-Pyrénées 58: 77–84, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Europe. Paleolithic art.

ABMARB.

Beltran Martinez, A. and Berenguer, M., 1984. “Méthodes d’Analyse de l’Art Préhistorique Pariétal. Recherche Pure et Enseignement” in L’Anthropologie 88(4): 511–17, Masson, Paris, France. ISSN: 0003-5521.

Europe. Paleolithic art. Research methodology.

ABMARB.

Beltran, Antonio, Clottes, Jean, Courtin, Jean and Cousquer, Henri, 1992. “Une Grotte Ornée Paléolithique sur le Litoral Méditerranéen: la Grotte Cosquer à Marseille” in Comptes Rendus de l’Academie des Sciences, Vol. 315(Serie II): 239–246, Paris, France. ISSN: 1251-8050.

http://gallica.bnf.fr/ark:/12148/bpt6k5489535w/f243.image (accessed on 21 April 2012).

Grotte Cosquer, Marseilles, France. Europe. Paleolithic art.

ABMARB, Internet.

Beltran Martinez, A., Clottes, J., Courtin, J. and Cosquer, H., 1992. La Cueva Cosquer (Cabo Morgiou, Marsella, Francia) y su Arte Rupestre. 40 pgs, Diputación General de Aragón, Departamento de Cultura y Educación, Zaragoza, Spain. ISBN: 84-7753-292-3.

Cosquer Cave, Cabo Morgiou, Marseilles, France. Europe. Paleolithic art.

ABMARB, Internet.

Beltran, A., Gailli, R. and Robert, R., 1973. La Cueva de Niaux Monografias Arqueologicas. vol. 16: 274 pgs, Universidad de Zaragoza, Departamento de Prehisoria y Arqueologia, Zaragoza, Spain. ISBN: 8470783742 / 9788470783746 / 84-7078-374-2.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art.

Biblio, Internet, ABMARB.

Beltrán Martínez, A., Gailli, R., Robert, R. and Nougier, L.R., 1966. “Diverticule aux Bisons de la Grotte de Bédeilhac” in Bulletin de la Société Préhistorique de l’Ariège 21: 19–26, Société Préhistorique de l’Ariège, Tarascon-sur-Ariége, France. ISSN: 0245-9523.

Bedeilhac, France. Europe. Paleolithic art. Bison moti(s).

ABMARB.

Beltrán Martínez, Antonio and Romain, Robert, 1976–1977. “Cuestiones sobre el Arte Cuaternario en la Península Ibérica” in Sautuola 15(2): 111–17, Instituto de Prehistoria y Arqueología Sautuola, ISSN: 1133-2166.

Iberian Peninsula, Spain. Europe. Paleolithic art.

Dialnet.

Beltrán Martínez, Antonio, Robert, Robert and Gailli, René, 1967. La Cueva de Bédeilhac Monografias Arqueologicas. vol. 2: 148 pgs, Facultad de Filosofía y Letras, Departamento de Prehistoria y Arqueología, Zaragoza, Spain.

Bedeilhac, France. Europe. Paleolithic art.

ABMARB, Internet, Biblio.

Beltrán Martínez, Antonio, Robert, Robert and Vézian, Jean, 1966. La Cueva de Le Portel Monografias Arqueologicas, Anejo de Caesaraugusta. vol. 1: 199 pgs, Seminario de Prehistoria y Protohistoria, Zaragoza, Spain.

Le Portel, Ariege, France. Europe. Paleolithic cave art.

Biblio, Internet, ABMARB.

Benito del Rey, Luis, 2007. Santuario Rupestre Prehistórico de”El Misterio de la Vida”: (Vilvestre, Salamanca): Lectura e Interpretación de los Grabados de”El Muro”. 142 pgs, ISBN: 8469066390, 9788469066393.

“El Muro”, Vilvestre, Salamanca, Spain. Europe. Paleolithic art.

Abstract: “Prefacio Federico Panchón Cabañeros. En los grabados de el monumento de “El Muro”, en el santuario rupestre prehistórico de Vilvestre (Salamanca) se refleja el proceso concreto, crónicamente desarrollado, de unos hechos naturales que conducen a la generación de la vida. Se representa, esquemática y simbólicamente a los miembros de la unidad básica de una sociedad: padre, madre, hijos e hijas, es decir, la familia; por eso digo que el santuario estuvo dedicado a “El Misterio de la vida” en familia.”

Biblio, internet.

Berdin, M.O., 1970. “La Répartition des Mammouths dans l’Art Pariétal Quaternaire” in Travaux de l’Institut d’Art de l’Université de Toulouse I 12: 179–290 and 301–367, Universite de Toulouse. Faculte des Lettres et Sciences Humaines, Toulouse, France.

Europe. Paleolithic art. Mammoth motif(s). Distribution.

IIA.

Berenguer, Magín, 1973. Prehistoric Man and his Art: The Caves of Ribadesella. 168 pgs, Souvenir Press.

Ribadesella, Spain. Europe. Paleolithic cave paintings.

Melvyl (UCSB Main Lib : Call No: GN771 .B4713 : ).

Berenguer, Alonso M., 1986. “Art Parietal Paleolithique Occidental. Techniques d’Expression et Identification Chronologique” in L’Anthropologie 90: 665–77, Masson, Paris, France. ISSN: 0003-5521.

Western Europe. Paleolithic art. Chronology.

IIA.

Berenguer, Magin, 1994. Prehistoric Cave Art in Northern Spain. Asturias. 286 pgs, Frente de Afirmacion Hispanista, Mexico.

The Pindal Cave. La Loja, El Mazo, Penamellera Baja. El Abrigo de Cueto de la Mina. La Riera Cave. Balmori. (aka La Eria). Las Coberizas. Las Herrerias (or Bolao) Cave. Coimbre. Llonin. La Cuevona, El Cierro, Cova Rosa, La Lloseta, San Antonio, Les Pedroses, Tito Bustillo, Ribadesella Township. El Buxu, Cangas de Onis. Caldas, Las Mestas, Sofoxo, La Paloma, Dark Cave of Ania, Conde, La Moratina, Los Murcielagos (Bat Cave), Entrefoces Shelter, La Vina Shelter, La Luerra, Godulfo, Candamo, Asturias, Northern Spain. Europe. Paleolithic cave art. Text in both English and Spanish.

LMRAA. Biblio, Melvyl (UCB Main: Call No: GN772.22.S7 B4613 1994 :)

Berlussi, Mario, 1998. Grotto Addaura/Sicily/Italy StoneWatch: The World of Petroglyphs, (Part 1): 15 pgs, Society and Academy for Conservation and Documentation of Rock Art (ARAD-ACADEMY), Warmsroth, Germany.

Grotto Addaura, Sicily, Italy. Europe. Site overview. Paleolithic cave art. Human motif(s).

Internet.

Bernaldo de Quiros, F., 1994. “Reflexiones de la Cueva de Altamira” in Homenaje al Dr. Joaquín González Echegaray, J.A. Lasheras, ed. Monografias 17, 261–267, Museo y Centro de Altamira, Santander, Spain. ISBN: 8474839939, 9788474839937.

Altamira, Spain. Europe. Paleolithic art.

Biblio.

Bernaldo de Quiros, F. and Neira, A., 1991. “Le Paleolithique Superieur dans le Bassin du Duero” in Le Paleolithique Superieur Europeen. Bilan Quinquennal, M. Otte, ed. Etudes et Recherches Archeologigues de l’Universite de Liege, 281–283.

Bassin du Duero, Spain. Europe. Paleolithic.

Biblio.

Berrocal, Emilio G., 2017 (Jun). “The Forgotten Perception” in EXPRESSION: Quaterly e-Journal of Atelier in Cooperation with UISPP_CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples, (16): 30–33, Atelier Editions, Capo di Ponte, Italy. ISSN: 2499-1341.

https://www.academia.edu/33873387/Neuro-ethnological_Messages_from_Rock_Pictures (accessed on 14 July 2017).

Chauvet Cave, Ardeche, France. Europe. Perception. Paleolithic art.

Academia.edu.

Berrouet, Florian, Citerne, Pierre, Guillaud, Émilie, Pigeaud, Romain, Paitier, Hervé, et al., 2014 (Nov-Dec). “Sur un Poisson Gravé Magdalénien de la Grotte Margot (Thorigné-en-Charnie, Mayenne)” in Comptes Rendus: Palevol 13(8): 727–36, ISSN: 1631-0683.

Grotte Margot, Thorigné-en-Charnie, Mayenne, France. Europe. Paleolithic art. Magdalenian. Fish motif(s).

Abstract: “An engraved fish that can be attributed to the final Magdalenian period was discovered in 2010 in the Margot cave (Thorigné-en-Charnie, Mayenne, France). It shows graphic details that allow us to propose some clues to taxonomic determination. It must be a freshwater fish; the hypothesis of a Cyprinidae such as a tench is acceptable, considering that the 3.1 layer of the nearby Rochefort cave, attributable to the Final Paleolithic, has yielded a branchial arch of another Cyprinidae (probably a chub or a dace). Fish is not a usual theme in Paleolithic wall art. Here it is associated with another engraved animal figure, which is not fully determinable (seal or other fish).”

Internet.

Besesek, Mihail, Radu, Valentin Alexandru, Lascu, Viorel Traian and contributions by Gely, Bernard, 2010. “Discovery of a New Decorated Palaeolithic Cave (Pestera Coliboaia in Roumania, Bihor Department” in International Newsletter on Rock Art (57): 8–11, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/images/Doc_centre/PDF/INORA/Inora-57-2010_1_totalit__smallest.pdf (accessed on 22 April 2017).

Pestera Coliboaia, Bihor, Romania, Central Europe. New discovery reported of Paleolithic cave art. Includes apparent altar of cave bear skull and long bones.

LMRAA.

Bessac, Henri and Lautier, Jean, 1984. “Grotte de la Magdeleine des Albis” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 540–543, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Magdeleine des Albis, Midi-Pyrenees, Tarn, Penne, France. Europe. Paleolithic cave art. Horse, human female, bison,

APGODQ, LMRAA.

Bischoff, James, González Morales, Marcos, García Diez, Manuel Ramón and Sharp, Warren, 2003. “Aplicación del Método de Series de Uranio al Grafismo Rupestre de Estilo Paleolítico: El Caso de la Cavidad de Covalanas (Ramales de la Victoria, Cantabria)” in Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas, vol. 20: 143–150, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

Covalanas, Ramales de la Victoria, Cantabria, Spain. Europe. Absolute dating techniques. Paleolithic art.

Abstract: “Practise the application of the analytical procedure of Uranium-series for the knowledge of the artistic evolution of palaeolithic rock art. The result obtained sample the validity of the method and opens the way for the procurement of date absolute ante quem and post quem that serve to frame moments of execution of rock art.”

RASNW3, Biblio, Dialnet, Refdoc.fr.

Biton, M., Vouve, J., Brunet, J., Delporte, H. and Soleilhavoup, F., 1989. “Table Ronde sur le Theme “Les Causes de Degradation des Grottes Ornees” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 206–207, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

France. Europe. Prehistoric art. Paleolithic art. Cultural resource management. Conservation and preservation. Degradation. Weathering.

LMRAA.

Blanc, A.C., 1964. “Sur le Probleme de l’Age de l’Art Rupestre du Levant Espagnol, et les Moyens a Employer pour Resoudre ce Probleme” in Prehistoric Art of the Western Mediterranean and the Sahara Viking Fund Publications in Anthropology, 119–124, Wenner-Gren Foundation for Anthropological Research, New York, New York.

Levantine, Spain. Europe. Paleolithic art. Pleistocene. Chronology.

LMRAA.

Blanc, Claude and Marsan, Genevieve, 1984. “Grotte de Sainte-Colome” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 287–288, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Sainte-Colome, massif de l’Aptien, Gave d’Ossau, Arudy France. Europe. Paleolithic cave art. Horse, circle, bison motif(s).

LMRAA.

Blanchard, Jacques, 1964. “Informations Recherchees d’Apres les Equides Europeens Figures” in Prehistoric Art of the Western Mediterranean and the Sahara Viking Fund Publications in Anthropology, 3–34, Wenner-Gren Foundation for Anthropological Research, New York, New York.

Europe. Paleolithic art. Horse motif(s).

LMRAA.

Blas Cortina, Miguel Angel de, 1996. Cuevas Prehistóricas de Asturias: Arte Rupestre Paleolítico, 91 pgs, Ediciones Trea, Gijón, Spain. ISBN: 84-89427-08-9 ISBN-13: 9788489427082.

Asturias, Spain. Europe. Paleolithic art.

Dialnet, Internet.

Blas Cortina, Miguel Ángel de, 2014. “Grafismo Rupestre y “Santuarios” Paleolíticos en el Sector Marítimo del Interfluvio Sella-Deva” in Expresión Simbólica y Territorial: Los Cursos Fluviales y el Arte Paleolítico en Asturias, Miguel Ángel de Blas Cortina, ed., 129–169, RIDEA. Real Instituto de Estud, ISBN: 978-84-942660-7-2.

Sella-Deva, Spain. Europe. Paleolithic art.

Dialnet.

Blas Cortina, Miguel Ángel de, ed., 2014. Expresion Simbolica y Territorial: Los Cursos Fluviales y el Arte Paleolitico en Asturias, 169 pgs, Real Instituto de Estudios Asturianos, Oviedo, Spain. ISBN: 8494266071.

Asturias, Spain. Europe. Paleolithic art.

RASNW, Internet.

Blundell, Geoffrey, 1996. “Exploring the French Underworld” in The Digging Stick (formerly South African Archaeological Society Newsletter), vol. 13(2): 7–10, South African Archaeological Society, ISSN: 1013-7521.

France. Europe. Paleolithic cave art. George Blundell and David Lewis-Williams tour fourteen caves, hosted by Jean Clottes.

LMRAA (photo copy).

Boche, Elisa, Jaillet, Stephane, Sadier, Benjamin, Cretin, Catherine, Ployon, Estelle, Robert, Eric, Delannoy, Jean-Jacques and Geneste, Jean-Michel, 2014. “De l’Art Parietal a ses Contextes: Bilan des Applications pour l’Enregistrement, l’Integration et l’Analyse des Informations Spatiales” in Les Arts de la Préhistoire: Micro-Analyses, Mises en Contextes et Conservation. Actes du Colloque «Micro-Analyses et Datations de l’Art Préhistorique dans son Contexte Archéologique», MADAPCA—Paris, 16–18 Novembre 2011 Paléo, Revue d’Archéologie Préhistorique, Numero Especial, Vol. 25(Extra 2014): 145–152, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

Europe. Paleolithic art. Documentation. Spatial analysis.

Internet.

Bocherens, H., Drucker, D. and Billiou, D., 2005. “Etat de Conservation dans la Gortte Chauvet (Vallon-Pont-d’Arc, Ardeche, France): Implications pour la Biogeoclime Isotopique (Paleodietes, Paleoenvironnements, Datations au Radiocarbone” in La Grotte Chauvet à Vallon-Pont-d’Arc: Un Bilan des Recherches Pluridisciplinaires Actes de la Séance de la Société Préhistorique Française, 11 et 12 Octobre 2003, Lyon Bulletin de la Société Préhistorique Française, Vol. 102(1): 77–87, Société Préhistorique Française, Paris, France. eISSN: 1760-7361 ISBN: 2-913745-21-0.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_2005_num_102_1_13339# (accessed on 5 October 2011).

Chauvet Cave, Vallon-Pont-d’Arc, Ardeche France. Europe. Paleolithic cave painting. Paleoenvironment. Radiocarbon dating.

Abstract: “In the Chauvet Cave preservation is the highest priority and only minimum destruction is permitted. In this context, a new method for assessing a priori the preservation of collagen based on the amount of residual nitrogen has been used on the skeletal remains from this site. A majority of bones, around 70%, have lost more than 90% of their original collagen; they are thus useless for biogeochemical applications, including radiocarbon dating. This method uses very small quantities of material, and could also be used to test bone or ivory artefacts, avoiding any unnecessary destruction of valuable items.”

Biblio, Persee.

Bogoro, W., Pokrowsi, A. and Bogaievski, B., 1939. “Une Reconstitution de Danse Magique Prehistorique au Musee de l’Academie des Sciences a Leningrad” in Melanges de Prehistoire et d’Anthropologie Offerts par Ses Collegues, Amis et Disciples au Professor Compte H. Begouen, J. Marsan, H.Delsol, L.-G. Boursiac, et al., 319–320, Editions du Museum, Toulouse, France.

Europe. Paleolithic art. “magic dance” motif(s). Exibition.

Biblio.

Bohigas Roldan, R. and Sarabia Rogina, P., 1988. “Nouvelles Decouvertes d’Art Paleolithique dans la Region Cantabrique. La “Fuente del Salin” a Munorrodero” in L’Anthropologie 92: 133–37, Masson, Paris, France. ISSN: 0003-5521.

Fuente del Salin, Munorrodero, Cantabria, Spain. Europe. Paleolithic art.

IIA.

Bonifay, Eugene, 1984. “Le Monde Souterrain: Geologie et Speleologie” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 9–20, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

France. Europe. Paleolithic cave art. Geology. Speleology.

LMRAA.

Boric, Dusan, 2007. “Chapter 7: Images of Animality: Hybrid Bodies and Mimesis in Early Prehistoric Art” in Image and Imagination: A Global Prehistory of Figurative Representation, L. Morley and C. Renfrew, eds. McDonald Institute Monographs, 83–100, The McDonald Institute for Archaeological Research, ISBN-10: 190293748 ISBN-13: 978-1902937489.

Europe. Animal, hybrid, therianthropic motif(s). Paleolithic art. Mobiliary (portable) art. Altered states of consciousness. Shamanism. Animality. Information storage. Irrationality and esotericism.

IIA, LMRAA.

Boron, Tomasz, Królik, Halina and Kowalski, Tomasz, 2010–2011. “Les Figurines Féminines Magdaléniennes du Site de Wilczyce 10 (District de Sandomierz, Pologne)” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 242–243, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Site de Wilczyce 10, District de Sandomier, Poland. Eastern Europe. Paleolithic. Mobiliary (portable) art. Magdelanian. Female motif(s). Figurines. Gender.

Abstract: “Situé sur le plateau de Sandomierz dans le sud de la Pologne, le site de Wilczyce fut découvert en 1994 lors d’une campagne de prospection menée dans le cadre du projet “Photographie archéologique de la Pologne” réalisé par l’Académie polonaise des Sciences. Le site se trouve sur un talus dominant la vallée de la rivière Opatówka. La fouille programmée a permis de constater que les vestiges du Magdalénien étaient présents uniquement dans les structures de remplissage d’une fente de gel. La fouille ainsi que les travaux de prospection archéologique ont livré au total 50 objets en silex identifiés comme des figurines, dont 31 aux surfaces travaillées (objets finis). Ce lot compte aussi des objets fragmentaires et 19 ratés de fabrication (objets non finis)). Les statuettes étaient le plus souvent réalisées à partir d’éclats débités, plus rarement à partir de lames. Leur longueur varie entre 18 et 83 mm. Elles ont été réparties en deux groupes, en fonction de la position du fessier: le premier - de profil droit, c’est-à-dire fessier à droite - compte 27 exemplaires, le second - de profil gauche, c’est à dire fessier à gauche - en compte 23. Nous avons également noté 4 objets de ce type identifiés dans le mobilier osseux de Wilczyce. Deux figurines féminines sont de profil droit, une de profil gauche et la dernière semble représenter une femme enceinte.”

Dialnet.

Borzatti von Lowenstern, Edoardo, 2000. “Testimonianze di Arte Paleolitica nel Bacino di Isma (Giordania Meridionale)” in Studi per l’Ecologia del Quaternario 22: 23–27, Florence, Italy. ISSN: 0392-6788.

Basin of Isma, Southern Jordan. Mideast. Animal motif(s). Upper paleolithic.

Abstract: “The Author presents some evidences of Kebarian art (higher Paleolithic) consisting of rock engravings and paintings. The rarity of such works is certainly due to the strong degradation process in the area and to their age. The figures represent wild animals drawn in a naturalistic style, very well designed and still well readable.”

Refdoc.fr.

Bosch-Gimpera, P., 1964. “The Chronology of the Rock-Paintings of the Spanish Levant” in Prehistoric Art of the Western Mediterranean and the Sahara Viking Fund Publications in Anthropology, 125–132, Wenner-Gren Foundation for Anthropological Research, New York, New York.

Levantine, Spain. Europe. Paleolithic art. Chronology.

LMRAA.

Bosch Gimpera, Pedro, 1970. “Chronologie de l’Art Levantin Espagnol” in Art Prehistorique. Actes du Symposium International d’Art Prehistorique, Valcamonica Symposium, 1968, 69–77, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy.

Spain. Europe. Argues for a paleolithic date for levantine rock art. Chronology.

LMRAA.

Bosch Gimpera, Pedro, 1977. “Posible Arte Rupestre Paleolitico en Mexico” in Del Arte, Homenaje a Justino Fernandez, 27–29, Instituto de Investigaciones esteticas, Universidad Nacional Autonoma de Mexico, Mexico.

Mexico. North America. Paleolithic art in Mexico?

PAPPM.

Bosinski, Gerhard, 1973. “Le Site Magdalenien de Gonnersdorf (Commune de Neuwied, Vallee du Rhin Moyen, R.F.A.” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège, vol. 28: 25–48, Societe Prehistorique de l’Ariege, Toulouse, France.

Gonnersdorf, Neuwied, Rhine Valley, Germany. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian.

LMRAA, Biblio.

Bosinski, G., 1976. “L’Art Mobilier Paléolithique dans l’Ouest de l’Europe Centrale et les Rapports Possibles avec le Monde Franco-Cantabrique et Méditerranéen” in Les Courants Stylistiques dans l’Art Mobilier au Paléolithique Supérieur. Colloque XIV des IX Congr. UISPP, Nizza, S., 97–117, Centre National de la Recherche Scientifique (CNRS), Paris, France.

Spain. France. Europe. Paleolithic art. Mobiliary (portable) art.

CREAP.

Bosinski, G., 1991. “The Representation of Female Figures in the Rhineland Magdalenien” in Proceedings of the Prehistoric Society 57(Pt 1): 51–64, The Prehistoric Society, London, England. ISBN: 901286628 1.

Rhineland, Germany. Europe. Mobiliary (portable) art. Paleolithic art. Female motif(s).

IIA.

Bosinski, G., 2004. “El Arte Paleolitico en Europa Central en el Contexto de los Tipos de Asentamento y las Formas de Vida” in La Materia del Lenguaje Prehistorico. El Arte Mueble Paleolitico de Cantabria en su Contexto, P. Arias Cabal and R. Ontanon Peredo, eds., 85–103, Consejería de Cultura, Turismo y Deporte del Gobierno de Cantabria., Santander, Spain.

Cantabria. Spain. Central Europe. Paleolithic art. Mobiliary (portable) art.

CREAP.

Bosinski, G., 2005. “El Arte Mueble Paleolítico en Europa Central y Oriental” in El Significado del Arte Paleolítico, J.A. Lasheras Corruchaga & J. González Echegaray, dirs., 127–162, Ministero de Cultura, Museo de Altamira, Santander, Spain.

Central and eastern Europe. Paleolithic art. Mobiliary (portable) art.

CREAP.

Bosinski, Gerhard, 2006. “Le Grand Chasseur. Réflexion sur une Scéne Gravée de Gönnersdorf (Rhénanie, Allemagne)” in Miscelánea en Homenaje a Victoria Cabrera, José Manuel Maillo y Enrique Baquedano, eds. Zona Arqueológica, vol. 7(2): 12–23, Comunidad de Madrid: Museo Arqueológico Regional.

http://www.creap.fr/pdfs/Bosinski-Miscelanea-Cabrera-2006.pdf (accessed on 27 November 2011).

Gönnersdorf, Rhineland, Germany. Europe. Paleolithic art. Mobiliary (portable) art. Hunt scene motif(s).

CREAP, Dialnet.

Bosinski, Gerhard, 2011. Femmes sans Tete. Une Icone Culturelle dans l’Europe de la Fin de l’Epoque Glaciaire, 231 pgs, Editions Errance, Paris, France. ISBN: 978-2-87772-459-3.

Paleolithic art. Magdalenian. Mobiliary (portable) art. Female (woman) without head motif(s). Plaquettes, statuettes, cave art. Gender.

LMRAA.

Bosinski, Gerhard and Bosinski, Hannelore, 2005–2006. “Cuervo, Rana y Tortuga en Gönnersdorf. Animales Representados Raras Veces, que han sido Dibujados Perfectamente” in Homenaje a Jesus Altuna Munibe 57(3): 135–41, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/200503135141AA.pdf (accessed on 27 November 2011).

Gönnersdorf, Rhineland, Germany. Europe. Paleolithic art. Crow (raven), frog, turtle, animal motif(s). Mobiliary (portable) art. Engraved slate plaquettes.

Abstract: “On the slate plaquettes of the Magdalenian site of Gönnersdorf (Rhineland, Germany) besides many other representations we find a raven, a frog, and a tortoise. Even though these animals are drawn very infrequently, the figures are lively with many anatomical details. Taking into consideration the fact that the animals did not pose to be drawn, the pictures were mentally stored on the basis of intense observations by artists with eidetic talents.”

Internet. CREAP.

Bosinski, Gerhard and Bosinski, Hannelore, 2010. “Seals from the Magdalenian Site of Gonnersdorf (Rhineland, Germany)” in An Enquiring Mind: Studies in Honor of Alexander Marshack, Paul Bahn, ed. American School of Prehistoric Research Monograph Series, 39–50, Oxbow Books, Oxford, England. ISBN: 9781842173831.

Gonnersdorf (Rhineland, Germany. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian. Plaquettes. Seal motif(s).

Internet, LMRAA.

Boucher, Pierre and Laplace, Georges, 1984. “Grotte de Sasiziloaga” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 266–267, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Sasiziloaga, Aussurueq (Altzuruku), Soule (Zubero), Hargaina, Basque Country, Spain. Europe. Paleolithic cave art. Bison motif(s).

LMRAA.

Bouchud, Jean, 1955. “La Faune de la Grotte de Gargas” in Bulletin de la Société Méridionale de Spéléologie et de Préhistoire, vol. 5: 383–390.

Grotte de Gargas, France. Europe. Paleolithic art. Animal motif(s).

EPA, Internet.

Bougard, E., 2010. The Use of Clay in the Upper Palaeolithic of Europe. Symbolic Appications of a Material British Archaeological Reports (BAR) International Series, (S2069): 289 pgs, Archaeopress, Oxford, England. ISBN: 978-1-4073-0476-2.

Spain. France. Europe. Use of clay in Paleolithic art. Clay figurines.

Biblio.

Bougard, Estelle, 2010–2011. “Comparaison de Deux Contextes d’Utilisation de l’Argile au Paléolithique Supérieur en Europe” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 320–321, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Moravia, Czech Republic. Pyrenees, Spain. France. Europe. Paleolithic art. Mobiliary (portable) art. Sculpture. Figurine. Clay.

Abstract: “L’argile a été utilisée au Paléolithique Supérieur en Europe d’une manière importante dans deux traditions culturelle différentes: le Pavlovien de Moravie en République Tchèque (avec les sites de Dolni Vestonice et Pavlov) et le Magdalénien des Pyrénées françaises. Dans ces contextes, cette matière n’a été appliquée qu’à des formes d’expression symbolique. Une analyse technologique combinée à l’étude des formes a permis de dégager des caractéristiques propres à chaque tradition. Dans les Pyrénées, l’argile est surtout utilisée sous forme plastique en appliquant une variété de techniques : modelage, gravure, tracés digitaux, impression et sculpture, parfois combinées entre elles. Les processus techniques sont extrêmement variés, quasiment au cas par cas, de telle sorte que la transmission des savoir-faire précis liés au travail de l’argile ne semble pas avoir existé. Une certaine individualité technique paraît tolérée, voire encouragée dans ce contexte, et l’on peut envisager qu’elle a des effets sur la position sociale de l’individu dans le groupe. En revanche, le cadre artistique plus large du Magdalénien conditionne les formes données à l’art sur argile qui s’y inscrivent strictement, assurant une unité à l’ensemble. En Moravie, le travail de l’argile est complexe et très standardisé : on y trouve plus de 11 000 fragments de figurines en argile cuite. Ces objets ont été façonnés entre 27 000 et 25 000 ans BP sur les sites de Dolni Vestonice et de Pavlov. Ces observations impliquent une transmission organisée des connaissances et savoir-faire liés à ce processus technique très particulier. Des éléments plus précis nous sont apportés par l’étude des formes de ces céramiques, qui montrent des niveaux d’expertise très différents (peut-être à différents stades d’apprentissage) et par l’étude des empreintes digitales qui associent la fabrication aux femmes et enfants du groupe. Dans ce cadre, la technologie de l’argile respecte un modèle strictement établi où il n’y a pas de place pour l’initiative individuelle. On y devine un contexte social rigoureusement organisé.”

Dialnet.

Bougard, E. and Delluc, G., 2014. “Cro-Magnon: Images et Anecdotes” in Bulletin de la Societe Historique et Archeologique du Perigord 141: 267–86, Societe Historique et Archeologique du Perigord, Perigueux, France. ISSN: 1141-135X.

France. Europe. Paleolithic art. Cro-Magnon.

IIA.

Bouillon, Roger, 1984. “Grotte Mayenne-Sciences” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 567–571, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Mayenne-Sciences, Pays de la Loire, Mayenne, Thorigne-en-Charnie, France. Europe. Paleolithic cave art. Horse, Mammoth

LMRAA.

Bouissac, Paul, 2007. “The Question of Paleolithic Scripts” in Exploring the Mind of Ancient Man, Festschrift to Robert G. Bednarik, Peddarapu Chenna Reddy, ed., 135–144, Research India Press, New Delhi, India. ISBN:9788189131098.

Europe. Paleolithic art. Scripts.

LMRAA.

Bouissac, Paul, 2008. “The Archaeology of Graphic Signs: Evolutionary and Systemic Approaches 1” in Pleistocene Palaeoart of the World. Proceedings of the XV UISPP World Congress (Lisbon, 4–9 September 2006)/Actes du XV Congrès Mondial (Lisbonne, 4–9 September 2006) vol. 19, Session C80, edited by Robert G. Bednarik and Derek Hodgston British Archaeological Reports (BAR) International Series, (S1804): 57–62, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 9781407302911.

Cultural evolution. Paleolithic. Scripts. Signs. Symbolism. The archaeology of writing.

Bancroft, LMRAA.

Bouissac, Paul, 2013. “The Functional Notion of Context in The Description, Interpretation and Recording of Rock Art” in Global Rock Art 246–255, Indira Gandhi National Centre for the Arts (IGNCA) and Aryan Books, Dehli, India. ISBN-10: 8173054029, ISBN-13: 978-8173054020.

Europe. Rock art studies. Context. Paleolithic art. Language mediated environment.

LMRAA.

Boule, M., 1912. “Statuettes Paleolithiques. Compte Revue de la Decouverte des Bisons d’Argile in L’Anthropologie 23: 642–43, Masson, Paris, France. ISSN: 0003-5521.

Enlene Cave, France. Europe. Paleolithic art. Clay sculpture. Bison motif(s).

UVAP.

Bourdelle, Yves and Merlet, Jean-Claude, 1990. “Nouvelles Decouvertes d’Art Mobilier a Enval (Puy-de-Dome)” in L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21 November 1987, Jean Clottes, dir., 255–259, Ministere de la Culture, Foix, France. ISBN: 2-11-085550-9.

Enval, Puy-de-Dome, France. Europe. Paleolithic art. Mobiliary (portable) art. Plaquettes.

LMRAA.

Bourdier, C., 2005. Approche de la Construction Symbolique du Discours Parietal: L’Etude des Positions et des Attitudes Atrribuees aux Themes Animaliers dans la Gortte des Combarelles (Dordogne) Memoire de DEA, Universite de Paris I, Pantheon-Sorbonne.

Combarelles, Les Eyzies, Dordogne, France. Europe. Paleolithic art. Animal motif(s). Paleo-ecology.

RASNW4.

Bourdier, Camille, 2010. Paléogéographie Symbolique au Magdalénien Moyen: Apport de l’Etude des Productions Graphiques Pariétales des Abris Occupés et Sculpté de l’Ouest Français (Roc-aux-Sorciers, Chaire-à-Calvin, Reverdit, Cap-Blanc) Phd Dissertation, 408 pgs, Ecole Doctorale Sciences et Environments, Universite de Bordeaux 1, Bordeaux, France.

http://ori-oai.u-bordeaux1.fr/pdf/2010/BOURDIER_CAMILLE_2010.pdf (accessed on 17 February 2014).

Roc-aux-Sorciers, Chaire-à-Calvin, Reverdit, Cap-Blanc, France. Europe. Paleogeography. Paleolithic art. Magdalenian.

Abstract: “Thanks to the association of rock-art and a chrono-cultural context, the occupied and decorated rock-shelters appear to be particularly appropriate to consider the spatio-temporal structuration of the Middle Magdalenian. Based on analytical tracings, the techno-stylistic study of four rock-art sites (Roc-aux-Sorciers, Chaire-à-Calvin, Reverdit, Cap-Blanc) reveals a double process of unity and regionalization. A tradition of the Magdalenian parietal sculpture appears, in the continuity of the Solutrean sculpture. Two groups can be distinguished however. The “Roc-aux-Sorciers group” spreads from Vienne to Eastern Périgord. Inside, the analogies between the Roc-aux-Sorciers and Chaire-à-Calvin friezes raises the question of their author(s), and beyond their inhabitants. The “Cap-Blanc group” coexists in Périgord. The difference between Roc-aux-Sorciers and Cap-Blanc is also found in the archaeological material. Could these symbolic groups illustrate two socio-cultural groups?Finally, the socio-cultural function of sculptured sites is tackled through the choice of sculpture. Inside the decorated sites of Eastern Vienne, the monumental sculptured frieze of Roc-aux-Sorciers rock-shelter certainly was public art, associated with large occupations. Then the frieze would have acted as an element of social cohesion. It could also have served as a territorial mark facing other populations (La Garenne group?).”

Internet.

Bourdier, Camille, 2010. “Le Magdalenien Moyen en Poitou-Charentes: Une Expression Sypmbolique Propre” in Prehistoire entre Vienne et Charente. Hommes et Societe du Paleolithic, J. Buisson-Catil et J. Primault, dirs. Ministere de la Culture Memoire, (XXXVIII): 363–382, Ministere de la Cultura, Paris, France. ISBN: 978-2-909165-92-9.

Poitou-Charente, France. Europe. Paleolithic art. Magdalenian.

Academia.edu.

Bourdier, Camille, 2010–2011. “Rock Sculpture and Symbolic Geography in the Middle Magdalenian” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 72–73, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Middle Magdalenian. Rock sculpture. Symbolic geography.

Dialnet.

Bourdier, Camille, 2011. “Specifites et Parente du Dispositif Parietal de l’Abri Reverdit (Sergeac, Dordogne): L’Apport de l’Etude des Blocs Ornes de la Collection Delage” in Paléo, Revue d’Archéologie Préhistorique 22: 53–68, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://paleo.revues.org/2070?lang=en (accessed on 12 November 2012).

Abri Reverdit, Sergeac, Dordogne, France, Europe. Cupule, bison motif(s). Paleolithic. Magdalenian.

Abstract: “Les blocs ornés viennent compléter les études menées sur les manifestations graphiques pariétales de l’abri Reverdit par des thématiques, des techniques et des conventions formelles distinctes de celles qui composent la frise in situ. Leur analyse met notamment en avant la coexistence de deux morphotypes de Bison et révèle de nouveaux parallèles avec les sculptures du Roc-aux-Sorciers, abri occupé et orné au Magdalénien moyen (15 000-14 000 BP). Les motifs cupulés soulignent, en outre, la singularité de ce dispositif pariétal.”

Biblio, Internet.

Bourdier, C., 2012. “Rock Sculpture and Symbolic Geography in the Middle Magdalenian” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 72–73, CD: 397-414, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Roc-aux-Anglin, Vienne, France. Europe. Paleolithic art. Magdalenian. Rock sculpture. Symbolic geography.

Biblio, LMRAA.

Bourdier, Camille, 2013. “Rock Art and Social Geography in the Upper Paleolithic. Contribution to the Socio-Cultural Function of the Roc-aux-Sorciers Rock-Shelter (Angles-sur-l’Anglin, France) from the Viewpoint of its Sculpted Frieze” in Journal of Anthropological Archaeology 32: 368–82, Elsevier, ISSN: 0278-4165.

Roc-aux-Sorciers, Angles-sur-l’Anglin, France. Europe. Sculpted frieze. Paleolithic art. Public art.

Abstract: “This article is about the contribution of rock art to current studies on the social geography of European Paleolithic populations. The socio-cultural function of the Roc-aux-Sorciers decorated and occupied rock-shelter is considered through its monumental sculpted frieze. This approach is based on the intended audience, analyzed through the perception of this rock art and the archaeological context of the associated occupations. The site is also considered with regard to the other local decorated sites dated to the Middle Magdalenian with which it shares strong similarities (La Marche, Les Fadets, Réseau Guy Martin). Within this network of decorated sites, the Roc-aux-Sorciers rock art shows a strategy of visibility, and probably was a public art as the site has all the criteria of a meeting place for different bands belonging to a cultural group based in Eastern Vienne. The frieze would come to strengthen the social cohesion of this group through the common values and beliefs that it illustrates. As it establishes this group physically and symbolically in the landscape, it could indicate a territorial affiliation.”

Refdoc.fr.

Bourdier, Camille and Abgrall, Aurelie, 2010. “Bouquetin: 1/Chamois: 0. Relecture Critique d’une Sculpture du Roc-aux-Sorciers” in Antiquités Nationales (Saint-Germain-en-Laye), vol. 41: 25–32, Musée des Antiquités Nationales; Société des Amis du Musée et du Château de Saint Germain en Laye, ISSN: 0997-0576.

Roc-aux-Sorciers, France. Europe. Paleolithic art. Ibex, mountain goat motif(s).

Internet.

Bourdier, Camille, Abgrall, Aurélie, Huard, Olivier, Le Brun, Éric, Peyroux, Magali and Pinçon, Geneviève, 2009–2010. “Histoires de Bisons et de Chevaux: Regard sur l’Evolution de la Frise Pariétale de Cap-Blanc (Marquay, Dordogne) à Travers l’Analyse du Panneau de l’Alcôve” in Paléo, Revue d’Archéologie Préhistorique 21: 17–38, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://paleo.revues.org/index1729.html (accessed on 19 November 2011).

Cap-Blanc, Marquay, Dordogne, France, Europe. Paleolithic art. Sculpted frieze. Horse, bison motif(s).

Revues, Biblio.

Bourdier, Camille, Bosselin, Bruno, Gaussein, Pascaline, Paillet, Patrick, and Pincon, Genevieve, 2017. “Regards Croisés sur la Représentation Animalière des Faciès du Magdalénien à Pointes de Lussac-Angles et à Navettes: Choix Thématiques et Formels” in L’Essor du Magdalenien. Aspects Culturels, Symboliques et Techniques des Facies a Navettes et a Lussac—Angles, Actes de la Seance de la Societe Prehistorique Francaise, Besancon 17–19 October 2013, Camille Bourdier, Lucie Chehmana, Romain Malgarini et Marta Poltowicz-Bobak, dirs. Seances de la Societe Prehistorique Francaise, Vol. 8:103-118, Societe Prehistorique Francaise, Paris, France. ISSN: 2263-3847 – ISBN: 2-913745-67-9.

http://www.prehistoire.org/offres/file_inline_src/515/515_P_41921_58da210ae6ed2_8.pdf (accessed on 26 April 2017).

Lussac-Angles, France. Europe. Animal motif(s). Paleolithic art. Magdalenian.

Abstract: “ Animal representation has played a major role in the recognition and distinction of the facies in the Middle Magdalenian. Its scarcity and schematism in the Magdalenian with navettes would strongly contrast with the abundancy and realism of the images of animals in the Magdalenian with Lussac-Angles points. Restudies of sites (la Garenne, Roc-aux-Sorciers) during the last twenty years as well as new discoveries of cave art (réseau Guy-Martin) and art mobilier (Taillis-des-Coteaux) have enhanced the documentation on the iconography of these facies. Thus we propose an updated analysis of the bestiaries and of the styles in order to precise the degree of proximity or dissimilarity of these Middle Magdalenian graphic traditions between Vienne and Creuse rivers. Five sites are considered in this study: one attributed to the Magdalenian with navettes (Grand Abri and Blanchard cave at la Garenne), the others to the facies with Lussac-Angles points (la Marche, réseau Guy-Martin, Roc-aux-Sorciers, Taillis-des-Coteaux). Only theme common to the five sites, 91 depictions of horses (71 from la Marche) underwent a stylistic analysis, combining simple statistical treatments with factor analysis and ascending hierarchical classifications. Despite a certain graphic community which can be seen as the traditional stand of the figuration in the Middle Magdalenian, the two facies show a clear formal dichotomy with a realistic trend for the Magdalenian with Lussac-Angles points (shapely outlines, internal details, dynamism..) versus a schematic and poorly naturalistic representation in the Magdalenian with navettes (rectilinear outlines, few details, stiffness). Moreover, the horses of the Taillis-desCoteaux yield evidence of a certain variability in the graphic conventions inside the facies with Lussac-Angles points which remains hard to interpret (diachronic changes, personal variations or an attribution to the ‘faciès’ with Lussac-Angles points to be reconsidered?). In correlation, this variability enhances the formal proximity of Roc-aux-Sorciers and la Marche, providing new arguments to the assumption of common authors for a part of the graphic production in these two sites. This analysis of the horse confirms and clarifies both the stylistic coherence and contrast of the animal figuration in the two facies of the Middle Magdalenian identified between Vienne and Creuse rivers. The comparison of these results with the other spaces in which the two facies are mentioned will be interesting to question a possible iconographic unity - thematic and stylistic - inside each facies. In other terms, are we facing real cultural facies, not only sharing technical equipments but also a common symbolic expression?”

Academia.edu.

Bourdier, C. and d’Errico, F., 2014. “Mobiliary Art, Paleolithic” in Encyclopedia of Global Archaeology, Claire Smith, ed. Archaeology of Art, J. McDonald, I. Domingo, D. Fiore, and T. Heyd, eds., 4969–4979, Springer, New York, New York. ISBN: 978-1-4419-0426-3.

Europe. Paleolithic art. Mobiliary (portable) art.

Biblio.

Bourdier, Camille and Fuentes, Oscar, 2015. “Beyond Visibilities: A Plurality of Functions? The Rock Art Sites of Comarque and Cap-Blanc (Dordogne, France)” in XIX International Rock Art Conference IFRAO 2015. Symbols in the Landscape: Rock Art and Its Context, H. Collado, J. J. García Arranz, eds. Arkeos, Perspectivas em Dialogo, vol. 37: 1319–1322, Centro Europeu de Investigaçao da Pré-História do Alto Ribatejo (CEIPHAR), Tomar, Portugal. ISSN: 0873-593X.

Comarque and Cap-Blanc, Dordogne, France. Europe. Paleolithic art.

Academia.edu, LMRAA (CDRom).

Bourdier, Camille, Fuentes, Oscar, Hamon, G. and Pincon, Genevieve, 2008. “Technologies 3D Appliquées à la Sculpture Pariétale Magdalénienne” in Images et Releves Archeologiques, de la Preuve a la Demonstration. 132e Congres CTHS, Arles 2007, O. Buchsenschutz, ed., 123–142, Editions du CTHS, Paris, France.

https://www.academia.edu/6066567/BOURDIER_C._FUENTES_O._HAMON_G._et_PINCON_G._2008_-Technologies_3D_appliquees_a_la_sculpture_parietale_magdalenienne._In_O._BUCHSENSCHUTZ_ed._Images_et_releves_archeologiques_de_la_preuve_a_la_demonstration._132e_congres_CTHS_Arles_2007_Paris_CTHS_p._123-142 (accessed on 18 May 2014).

Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne) et de La Chaire-à-Calvin (Mouthiers-sur-Boëme, Charente), France. Europe. Paleolithic art. Magdalenian. Documentation. 3D scanning. Sulpture.

Abstract: “L’appréhension de la troisième dimension est devenue l’une des exigences essentielles du relevé d’art pariétal paléolithique, et le moteur dans la recherche et la mise en œuvre de nouvelles techniques d’enregistrement. Si cette question tombe sous le sens pour les œuvres sculptées, les peintures et les gravures adoptent les reliefs de la paroi sur lesquels elles s’appuient. Une figure pariétale est ainsi rarement plane, que son volume soit donné par sa technique d’exécution, ou suggéré par la surface accidentée de la paroi. Sous l’impulsion de Geneviève Pinçon, les abris ornés magdaléniens du Roc-aux-Sorciers (Angles-sur-l’Anglin, Vienne) et de La Chaire-à-Calvin (Mouthiers-sur-Boëme, Charente) sont le terrain d’application de méthodes de recherche novatrices. Les travaux menés ces dernières années témoignent d’une nouvelle approche des technologies 3D, comme techniques d’acquisition et d’archivage des données particulièrement efficaces, et comme instruments d’analyse et supports de diffusion innovants et pertinents.”

Academia.edu.

Bourdier, Camille, Fuentes, Oscar and Pinçon, Geneviève, 2015. “Contribution of 3D Technologies to the Analysis of Form in Late Palaeolithic Rock Carvings: The Case of the Roc-aux-Sorciers Rock-Shelter (Angles-sur-l’Anglin, France)” in Digital Imaging Techniques for the Study of Prehistoric Rock Art, Guillaume Robin, Guest Editor Digital Applications in Archaeology and Cultural Heritage, vol. 2(2–3): 140–154, Elsevier. doi:10.1016/j.daach.2015.05.001 (accessed on 17 September 2015).

Roc-aux-Sorciers Rock-Shelter, Angles-sur-l’Anglin, France. Europe. Documentation. Recording methodology. Digital imaging technique. Wall stratigraphy. Modelling. Paleolithic art. Magdalenian.

Abstract: “The 3D technologies have become essential in our researches on the Middle Magdalenian rock carving (18,500–17,000 cal. BP), complementary to the other traditional analytic tools. They play a noticeable role in our stylistic studies: the superimpositions of volumes and not only shapes make the form comparisons all the more accurate that margins of difference can be calculated. On the one hand, clarifying the degree of similarity between two carvings brings more data to the problem of the author(s) of the carvings, and thus it questions notions hardly tackled in prehistoric archaeology: the individual and the short time. These form comparisons prove to be very useful for other archaeological problems. Used for shape identification, they help for a better interpretation of the fragmentary representations and, beyond, for a more precise modelling of the chronological evolution of the parietal assemblages.”

Academia.edu. Internet.

Bourdier, Camille, Fuentes, Oscar, Pinçon, Geneviève and the collaboration of Baleux, François, 2017. “Methodological Contribution to the Integrated Study of European Palaeolithic Rock Art: The Issue of the Audience and the Perceptibility of Roc-aux-Sorciers Rock Art (Angles-sur-l’Anglin, France)” in Quaternary International 430(Pt A): 114–29, International Union for Quaternary Research, ISSN: 1040-6182.

http://www.sciencedirect.com/science/article/pii/S1040618216309703 (accessed on 3 May 2017).

Roc-aux-Sorciers, Angles-sur-l’Anglin, France. Europe. Middle Magdalenian. Paleolithic art. Audience. Perceptability.

Abstract: “This paper focuses on the issue of the audience of European Palaeolithic rock art, with a special interest given to the question of perceptibility. The carved, engraved and painted rock art from the Middle Magdalenian occupations of Roc-aux-Sorciers rock shelter (Angles-sur-l’Anglin, France) constitutes our case-study. Our methodology is based on an integrated approach of the rock art that combines an internal analysis of some intrinsic characteristics (techniques, dimensions, shapes, composition) and a study of the physical context it sets in. We particularly consider the characteristics of the environment of the site, its location in the landscape and its accommodation capacity. Thus are examined the visibility of the site and the decorated surfaces as well as the visibility and lisibility of the parietal carvings and engravings. We use GIS analysis processes to determine the view sheds and test several quantitative approaches taken from optics and visual ergonomics to calculate visibility and lisibility distances. If some analytical tools prove to be appropriate and relevant, the application of the formulas from the optical field needs to be qualified for some results are clearly overestimated. This preliminary research brings interesting results although supplementary analytical criteria will be necessary to consolidate them (lightning, painted register, perception of relief forms). Roc-aux-Sorciers was a site with a natural collective vocation given its high accommodation capacity from 75 to 100 people, easily accessible and highly visible in the landscape on a wide area. This study shows two strategies of visibility of the rock art, towards the outside or the inside of the site depending on whether the observer looks at the decorated back wall or ceiling. Moreover, two levels of visibility and legibility separate on the one hand the monumental carved frieze dedicated to a large and public audience, on the other hand the register of small fine engravings which discovery is more individual. Thus this study yields evidence of four levels of perceptibility of Roc-aux-Sorciers rock art: from an area of 1 km around the site until a close observation of the walls which can meet different audiences and hence recover diverse uses of the parietal iconography for these populations. Beyond, it is part of the territorial structuring and mobility of these people that could to be organized around these elements of distant visibility and perception of this decorated site which the Magdalenians were aware of.”

Science Direct.

Bourdier, Camille, Fuentes, Oscar, Pinçon, Geneviève and the collaboration of Baleux, François, 2017. “Looking through Past Records: The Use of Historical Documents in Cave Art Spatial Studies and its Application to La Pasiega (Puente Viesgo, Cantabria, Spain)” in Quaternary International, Vol. 430(Part A): 130–140, International Union for Quaternary Research, ISSN: 1040-6182.

https://doi.org/10.1016/j.quaint.2016.05.003 (accessed on 3 May 2017).

La Pasiega, Puente Viesgo, Cantabria, Spain. Europe. Paleolithic art. Cave art. Historical documents. History of research.

Abstract: “In the course of the last decades, new cave art discoveries such as La Garma, Chauvet-Pont-d’Arc, Le Reseau Clastres in the Niaux Cave, Cosquer and Cussac have allowed researchers to advance in context and spatial studies related to the art. This has been possible because the decorated chambers were intact at the moment of the discovery and, soon after, protocols were put in place to protect these invaluable records. These types of caves are a minority. In the Cantabrian region, most of the discoveries took place at the beginning of the 20th century and, in some cases, a few years after the first studies were published, the caves were greatly modified to prepare them for tourist visits in the 1950s. However, the study of historical documents can provide information regarding the context and the original spatial distribution of the caves. Using the available data from different historical sources such as pictures, descriptions, sketches, plans, etc. available in publications and unpublished materials, we can reconstruct, to a limited extent, the appearance of a cave in the moment of its discovery. The information gathered by the different researchers in the last hundred years to advance in the knowledge of La Pasiega cave in Puente Viesgo (Cantabria) is used to prove the validity of this approach. The results, combining information from the available sources and careful observation in the cave, are positive, allowing us to advance significantly in the understanding of the cave’s spatial characteristics.”

Science Direct.

Bourdier, Camille, Petillon, Jean-Marc, Chehmana, Lucie and Valladas, Helene, 2014. “Contexte Archeologique des Dispositifs Parietaux de Reverdit et de Cap-Blanc: Nouvelles Donnees” in Les Arts de la Préhistoire: Micro-Analyses, Mises en Contextes et Conservation. Actes du Colloque «Micro-Analyses et Datations de l’Art Préhistorique dans son Contexte Archéologique», MADAPCA—Paris, 16–18 Novembre 2011 Paléo, Revue d’Archéologie Préhistorique, Numero Especial, vol. 25: 285–294, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

Reverdit, Cap-Blanc, France. Europe. Paleolithic art. Archeological context.

Internet.

Bourdier, C. and Pincon, G. avec la coll. de Bosselin, B., 2016. “Norm et Individualite au Roc-aux-Sorciers (Vienne, France): Approches des “Mains” du Registre Animalier au Travers de la Forme” in Styles, Techniques et Expression Graphique dans l’Art sur Paroi Rocheuse (Styles, Techniques and Graphic Expression in Rock Art), Marc Groenen and Marie-Christine Groenen, eds. British Archaeological Reports, (S2787): 17–35, British Archaeological Reports Ltd., ISBN: 9781407314464.

Roc-aux-Sorciers, Vienne, France. Europe. Paleolithic art. Animal print motif(s).

Biblio.

Boureux, C.J., 2004. “L’ Homme et l’ Argile au Paléolithique Supérieur dans l‘ Espace Franco-Cantabrique” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 59: 93–108, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Cantabria, France. Europe. Paleolithic art. Clay.

DialNet.

Bourges, Francois, 2007. “Les Peintures Prehistoriques des Grottes, les Raisons d’une Conservation Exceptionnelle” in La Grotte de Gargas. Un Siecle de Decouvertes, P. Foucher, C. San Juan-Foucher, and Y. Rumeau, eds., 53–57, Edition Communaute de Communes du Canton de Saint-Laurent-de-Neste, Saint-Laurent-de-Neste, France. ISBN: 978-2-9528694-0-9.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Gravettian. Hand, animal, sign motif(s). Paleolithic art.

LMRAA.

Bourges, François, Mangin, Alain, D’Hulst, Dominique and Genthon, Pierre, 2006. “La Conservation de l’Art Pariétal Préhistorique des Grottes, Les Raisons d’un Miracle” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 61: 43–50, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Taphonomy.

Abstract: “The extraordinary conservation of prehistoric painted caves is attached to the physical properties of the medium rather than the nature of the remains. We attribute this robustness to local thermodynamic equilibrium conditions that persist at the wall, as a result of the regulation of long-term flows of matter and energy specific to the operation of the karst system. At the level of the cave, differences in the physical or the morphology of the cavities require additional complexity microclimate. Preservation of decorated caves and requires consideration of how the whole system in conjunction with the natural cave but also the identification of regulatory processes specific to each of these sites.”

Dialnet, Refdoc.fr.

Bourges, François, Mauduit, Eric, Mangin, Alain, D’Hulst, Dominique, Genthon, Pierre and Bègouën, Robert, 2010–2011. “L’Apport des Suivis Environnementaux dans la Conservation des Grottes Ornées Paléolithiques de Midi-Pyrénées: Les Exemples de Gargas (Hautes-Pyrénées) et de Marsoulas (Haute-Garonne)” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 58–59, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Gargas, Aventignan, Hautes-Pyrénées, and Marsoulas, Haute-Garonne, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Environmental monitoring.

Abstract: “La démarche de conservation de l’art pariétal pléistocène des grottes doit intégrer les vulnérabilités particulières des vestiges archéologiques et des ensembles naturels qui en sont le support. Sur la base d’une approche systémique, des expérimentations et des suivis environnementaux multiparamètres fournissent, sur la base d’éléments quantifiés, des systèmes d’alerte pour la protection de ces sites ainsi qu’une aide à la décision pour des aménagements ou des opérations de remédiation. Deux opérations sur des grottes ornées préhistoriques (Marsoulas et Gargas) illustrent la politique de gestion de la DRAC-Midi-Pyrénées.”

Dialnet.

Bourges, F., Mauduit, E., Mangin, A. et al., 2012. “L’Apport des Suivis Environementaux dans la Conservation des Grottes Ornees Paleolithiques de Midi-Pyrenees: Les Exemples de Gargas (Hautes Pyrenees et Marsoulas (Hautes-Pyrenees)” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 58-59, CD: 273-308, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Gargas, Marsoulas, Haute Pyrenees, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

Biblio, LMRAA.

Bourrillon, Raphaëlle, 2007. “Analyses et Relevés Préliminaires” in Abri Castanet, Secteurs Sud et Nord (Commune de Sergeac, Dordogne). Rapport de Fouille Programmée, Années 2006–2008, White R., ed., 109–120, Service Régional de l’Archéologie, Min. de la Culture, Bordeaux, France.

Abri Castanet, Secteurs Sud et Nord, Commune de Sergeac, Dordogne, France. Europe. Paleolithic art. Aurignacian.

CREAP.

Bourrillon, Raphaëlle, 2009. Les Representations Humaines Sexuees dans l’Art du Paleolithique Superieur Europeen: Diversite, Reminiscences et Permanences These de Doctorat, 2 vols, 391 and 165 pgs, Universite de Touluouse II—Le Mirail.

Europe. Human sexual motif(s). Paleolithic art.

Abstract: “This work concerns the gendered human representations throughout the European Upper Palaeolithic. An hierarchical Database was designed and used to analyse syntactic and formal variability. Various statistical treatments such as Correspondence Factor Analysis allow us to analyse this variability, from a synchronic and a diachronic point of view, and show the existence of invariants which may be regarded as universals and fluctuations probably due to distinct cultural traditions. Complete male and female figurations (as well as isolated sexual segments) show a complex pattern of formal convergences and divergences, both regionally and chronologically, allowing us to draw maps of possible territorial entities between which the theme may have circulated. The attention paid to woman and man has largely varied during the Upper Palaeolithic, the complete representations of men being very rare before the Middle Magdalenian. The differential emphasis on man and woman at various periods is probably related to changes in their symbolic and semiotic status and probably to changes in the socio-cultural traditions.”

RASNW4, Internet, Academia.edu.

Bourrillon, Raphaëlle, 2009. “Les Representations Feminines dans l’Europe du Paleolihique Superior: Une Vision Diachronique” in L’Art des Sociétés Préhistoriques. 1ères Rencontres Internationales Doctorants et Post-doctorants (Avril 2008) Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 64: 39–49, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1141-7137.

https://www.academia.edu/1614666/BOURRILLON_R._2009._Les_representations_feminines_dans_lEurope_du_Paleolithique_superieur_une_vision_diachronique_in_C._Fritz_R._Bourrillon_S._Petrognani_D._Garate_G._Sauvet_eds._LArt_des_Societes_Prehistoriques._Rencontres_Internationales._Doctorants_et_Post-doctorants._1er_edition_Avril_2008_Toulouse_Prehistoire_Art_et_Societes_Varilhes_T._64_p._39-49 (accessed on 20 April 2014).

Europe. Paleolithic art. Feminine, female motif(s). Gender. Formal and stylistic analysis.

Abstract: “The diachronic study of the feminine figures during the upper Palaeolithic art shows a large range of formal, stylistic and technological variations. Thanks to the use of correspondences factor analysis, it was possibleto identify formal changes as well as stable traits throughout the upper Palaeolithic over the European territory. Thistrans-chronological and trans-territorial approach emphasizes continuities and reminiscences in the graphic choices and underlines, on the contrary, some cultural peculiarities.”

CREAP, Academia.edu.

Bourrillon, R., 2010. “Poursuite de l’Etude des Blocs Ornés du Vallon: Campagne 2010” in Abri Castanet, Secteur Sud et d’Autres Interventions dans le Vallon de Castel-Merle (Commune de Segeac, Dordogne). Rapport de Fouilles Programmées et Demande de Renouvellement 2011, White R., ed., 195–216, Service Régional de l’Archéologie, Min. de la Culture, Bordeaux, France.

Vallon de Castel-Merle, Commune de Sergeac, Dordogne, France. Europe. Paleolithic art. Aurignacian.

CREAP.

Bourrillon, Raphaëlle, 2013. “L’Art Fragmente Aurigacien des Abris-Sous-Rouche de Dordogne” in Les Arts Rupestres: Premieres Images Narratives, M. Azema, ed. Les Dossiers de Archéologie, (358): 14, Editions Faton, Dijon, France. ISSN: 1141-7137.

Dordogne, France, Europe. Paleolithic art. Aurignacien.

Academia.edu.

Bourrillon, Raphaëlle, 2013. “La Part des Représentations Humaines dans l’Art du Paléolithique Supérieur en Aquitaine” in Aquitaine Historique 117: 8–12.

http://www.creap.fr/pdfs/Bourrillon-Aquit-hist-2013.pdf (accessed on 20 April 2014).

Aquitaine, France. Europe. Paleolithic art. Human motif(s).

CREAP.

Bourrillon, Raphaëlle, 2013. “Les Aurignaciens à New York. Une Collaboration Franco-Américaine” in Les Dossiers de Archéologie, (357): 86, Editions Faton, Dijon, France. ISSN: 1141-7137.

https://www.academia.edu/4036624/BOURRILLON_R._2013._Les_Aurignaciens_a_New_York._Une_collaboration_franco-americaine (accessed on 20 April 2014).

Baume-Latrone, France. Europe. Documentation. 3D reconstruction. Paleolithic art.

Academia.edu

Bourrillon, R., Cretin, C., White, R., Sisk, M. avec la collaboration de Chiotti L., Hoerlé S, 2010. “Étude du Bloc Orné (Bloc K) dans le Secteur Nord de l’Abri Castanet: Analyse par Fluorescence X (Equipe White et Equipe CEA)” in Abri Castanet, Secteur Sud et d’Autres Interventions dans le Vallon de Castel-Merle (Commune de Segeac, Dordogne). Rapport de Fouilles Programmées et Demande de Renouvellement 2011, White R., ed., 167–194, Service Régional de l’Archéologie, Min. de la Culture, Bordeaux, France.

Abri Castanet, Commune de Sergeac, Dordogne, France. Europe. Paleolithic art. Aurignacian. X-ray flourescence.

CREAP.

Bourrillon, Raphaëlle, Fritz, Carole and Sauvet, Georges, 2012. “La Thématique Féminine au Cours du Paléolithique Supérieur Européen: Permanences et Variations Formelles” in Bulletin de la Société Préhistorique Française 109(1): 85–103, Société Préhistorique Française, Paris, France. ISSN: 0249-7638.

http://www.prehistoire.org/shop_515-29932-4048-474/04-2012-tome-109-no-1-p-85-103-raphaelle-bourrillon-carole-fritz-et-georges-sauvet-la-thematique-feminine-au-cours-du-paleolithique-superieur-europeen-permanences-et-variations-formelles.html (accessed on 20 April 2014).

Dordogne, Ardeche, France. Europe. Paleolithic art. Female, feminine motif(s). Stylistic variations.

Abstract: “Female representations were first discovered at the end of the 19th century (e.g., archaeological sites of Grimaldi, Liguria in Italy; Brassempouy, Landes or Laugerie-Basse, Dordogne in France). Since then, they have been studied from different perspectives, formal, technical and symbolic as well as anthropological (Piette, 1984; Bégouën, 1934; Pales, 1972; Delporte, 1979; Leroi-Gourhan, 1971; White, 2006; Dupuy, 2007; etc.). Researchers have paid particular attention to full-body figures (figures can be “whole” or fractured), like Gravettian sculptures. Representations which H. Delporte called “synecdoches” – female genitals with no other anatomical details – have thus been neglected. This study aims at encompassing the image of woman as a whole with a diachronic then a synchronic approach, allowing the analysis of permanencies and variations with regard to both shape and symbolism. Female representations (whole or segmented) are known from the early Aurignacian in France in Périgord (Blanchard, Castanet, etc.) and Ardèche (Chauvet) and in Germany (Hohle- Fels). These figures show great diversity while retaining an undeniable unity of form throughout the Upper Palaeolithic. Synchronic and diachronic analyses of this stylistic variability using statistical tools (Correspondence Analysis) show the existence of both universal invariants in form and variations that may indicate distinct cultural traditions. The evidence of graphic convergences and divergences in female representations demonstrates the circulation of conventions over vast territories, but also raises questions about the semiotic status of these formal variations over long periods of time. First, a set of anatomical and sexual criteria is defined in order to identify human figures. The corpus established on the basis of these criteria shows a total of 988 entities, which can be subdivided into 729 female figures (portable 665, parietal 64) and 259 isolated genitals (portable 115, parietal 144). Although the female theme is known throughout the European continent, certain sites are quantitatively important (Combarelles, La Marche, Grimaldi, Gönnersdorf, Kostienki, etc.). In a second step, a description of the figures is proposed, using a formal repertoire, classified according to attributes/values. The data can then be processed using statistical tools (Correspondence Analysis). This first analysis allows us to observe variations from a diachronic point of view. The results concerning the full-body figures highlight the permanencies of shape for both two-dimensional figures (engraving, painting, bas-relief) and three-dimensional figures (sculptures) and show two formal conceptions of womanhood, independently of the techniques used. Regarding the representations of female genitals, these are organized according to a chronostylistic seriation, pointing to a dichotomy of form between the Aurignacian, Gravettian and Solutrean periods on the one hand, and the Magdalenian period on the other. In the course of the first three periods, pear-shaped and sub-oval forms apparently prevailed, except in the Ardèche region where triangular forms seem to have been privileged, forms that dominated during the Magdalenian period. The third step consists of the restitution of these graphic sets on a regional and chronological level that enriches the first set of data. Stylistic comparisons can then be made between sites and regions on a synchronic level. The evidence of graphic convergences and divergences for a similar period also allows us to observe their spatial evolution. For example, concerning the full-body figures, in the Gravettian period, stylistic influences seem to come from Central Europe, whereas during the Magdalenian period, but in a different form (schematic female figures), the subject finds itself anchored in South Western France and appears to spread quickly to Northern Europe. During the Aurignacian and Gravettian periods, a stylistic opposition concerning the representation of female genitals can be perceived between South Western France and the Cantabrian region on the one hand, and the Ardèche region on the other. During the Magdalenian period, however, formal homogenization spread throughout Europe. Finally, this analysis provides useful elements of reflection on the symbolic representations of women that persist throughout the Upper Palaeolithic within the European territory. Does the evidence of three different graphic conceptions of woman (detailed tendency, non-detailed tendency, isolated female genitals) reveal a symbolic dichotomy and different meanings? At the same time, how does one explain the persistence of certain stylistic traits over such a long period? As for the symbolic signification of these representations, as shown in this analysis, it can only be considered under a particular angle. It seems that the forms may have served as “containers” expressing different contents, probably of a mythical nature (Leroi-Gourhan, 1964; Lévi-Strauss, 1983). To conclude, the symbolism of these figures cannot be disconnected from Palaeolithic graphic manifestations, in a close relationship with the socio-economic functioning of the group.”

Internet, Academia.edu, Biblio.

Bourrillon, Raphaëlle and White, Randall, 2007. “Le Bloc K de Castanet dans l’Aurignacien d’Aquitaine” in Abri Castanet, Secteurs Sud et Nord (Commune de Sergeac, Dordogne). Rapport de Fouille Programmée, Années 2006–2008, White R., ed., 109–120, Service Régional de l’Archéologie, Min. de la Culture, Bordeaux, France.

Abri Castanet, Secteurs Sud et Nord, Commune de Sergeac, Dordogne, France. Europe. Paleolithic art. Aurignacian.

CREAP.

Bourrillon, Raphaëlle and White, Randall, 2008. “Inventaire et Description des Blocs de la Campagne 2008” in Abri Castanet, Secteurs Sud et Nord (Commune de Sergeac, Dordogne). Rapport de Fouille Programmée, Années 2006–2008, White R., ed., 226–244, Service Régional de l’Archéologie, Min. de la Culture, Bordeaux, France.

Abri Castanet, Secteurs Sud et Nord, Commune de Sergeac, Dordogne, France. Europe. Paleolithic art. Aurignacian.

CREAP.

Bourrillon, Raphaëlle and White, Randall, 2013. “Early Aurignacian Graphic Arts in the Vézère Valley: Contextural, Formal, and Technological Evidence” in Aurignacian Genius: Art, Technology and Society of the First Modern Humans in Europe, Symposium International, Pre-Actes, New York University, New York, R. White, R. Bourrillon and V. Dubois, eds., 15.

Vezere Valley, France. Europe. Paleolithic art. Aurignacian.

CREAP.

Bourrillon, R., White, R. and Gardere, P., 2009. “L’Art Sur Bloc de l’Abri Castanet: Découvertes 2009 et Perspectives” in Abri Castanet, Secteurs Sud et Nord (Commune de Sergeac, Dordogne). Rapport de Fouille Programmée, Années 2006–2008, White R., ed., 160–201, Service Régional de l’Archéologie, Min. de la Culture, Bordeaux, France.

Abri Castanet, Secteurs Sud et Nord, Commune de Sergeac, Dordogne, France. Europe. Paleolithic art. Aurignacian.

CREAP.

Bourrillon, R., White, R., Tartar, E., Chiotti, L., Mensan, R., Clark, A., Castel, J.-C., Cretin, C., Higham, T., Morala, A., Ranlett, S., Sisk, M., Devièse, T. and Comeskey, D.J., 2017. “A New Aurignacian Engraving from Abri Blanchard, France: Implications for Understanding Aurignacian Expression in Western and Central Europe” in Quaternary International, In Press, corrected proof, International Union for Quaternary Research, ISSN: 1040-6182.

http://dx.doi.org/10.1016/j.quaint.2016.09.063 (accessed on 5 February 2017).

Abri Blanchard, Vezere Valley, France. Europe. Paleolithic art. Aurignacian. Mobiliary (portable) art. Aurochs with punctate body pattern motif(s). Regional system of graphic expression.

Abstract: “In the excitement of the widely publicized new finds of Aurignacian art from Chauvet, from the Swabian Jura and from as far afield as Pestera Coliboaia in Romania, it has almost been forgotten that a rich corpus of Aurignacian wall painting, engraving and bas-relief sculpture had been recognized and studied before World War I in the Vézère Valley of SW France. Scientific knowledge of the chronological and cultural context of that early-discovered graphic record has been limited by the crude archaeological methods of that pioneering era, and the loss and dispersal of many of the works discovered. In 2011, we launched new excavations and a re-analysis of one of the key sites for such early discoveries, the collapsed rock shelter of Abri Blanchard. In 2012, we discovered in situ a limestone slab engraved with a complex composition combining an aurochs and dozens of aligned punctuations. This new find, recovered by modern methods and dated by molecular filtration and Hydroxyproline 14C, provides new information on the context and dating of Aurignacian graphic imagery in SW France and its relationship to that of other regions. The support is not a fragment of collapsed shelter ceiling and is situated in the midst of quotidian occupational debris. The image shows significant technical and thematic similarities to Chauvet that are reinforced by our reanalysis of engraved slabs from the older excavations at Blanchard. The aligned punctuations find their counterparts at Chauvet, in the south German sites and on several other objects from Blanchard and surrounding Aurignacian sites. In sum, we argue that dispersing Aurignacian groups show a broad commonality in graphic expression against which a certain number of more regionalized characteristics stand out, a pattern that fits well with social geography models that focus on the material construction of identity at regional, group and individual levels.”

Internet.

Bouvier, Jean-Marc, 1990. “Bases Objectives de la Chronologie de l’Art Mobilier Paleolithique en Gironde, Perigord et Charente” in L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21 November 1987, Jean Clottes, dir., 65–75, Ministere de la Culture, Foix, France. ISBN: 2-11-085550-9.

Gironde, Perigord, Charente, France. Europe. Paleolithic art. Mobiliary (portable) art. Chronology. Aurignacian. Solutrean. Magdalenian. Azilian.

LMRAA.

Bouvier, Jean-Marc, 1993. “Généralités” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 7–20, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Includes site map showing Paleolithic art sites in Europe with extensive site name listing by country.

Biblio, LMRAA.

Bouvier, J.-M. and Trecolle, G., 1984. “Abri de Pille-Bourse” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 263, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Abri de Pille-Bourse, Saint-Germain-la-Rivere, Gironde, France. Europe. Paleolithic cave art. Indistinct animal motif(s).

LMRAA.

Bouyssou, Henri, 1955. “L’Art Préhistorique de la Grotte de Pech-Merle à Cabrerets, et sa Place dans l’Evolution Humaine” in Bulletin de la Société des Études du Lot 76(1), Société des Études du Lot.

Pech-Merle, Cabrerets, Quercy, Lot, France. Europe. Paleolithic art.

Internet.

Bowyer, Walter, 2003 (November). “The Challenges of Studying ‘Earliest’ Art” in Rock Art Research 20(2): 104–5, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

United States. North America. South America. Asia. India. Siberia. China. Japan. Mideast. Australia. Africa. Europe. World. Pleistocene (Paleolithic) art. Paleoart. Mobiliary (portable) art. Art origins. Comment on Robert G. Bednarik, 2004, RAR, 20(2):89-135.

LMRAA.

Boyle, Mary E., 1924. Prehistoric Man. Life in the Old and New Stone Ages. 130 pgs, Little, Brown, and Company, Boston, Massachusetts.

Europe. Paleolithic art. Written for a juvenile audience. Introduction and illustrations by H. Breuil.

LMRAA.

Boyle, Mary E., 1965. “How the Duke of Berwick and Alba’s English Edition of the Cavern of Altamira, at Santillana del Mar, Spain Came to be Written” in Miscelánea en Homenaje al Abate Breuil, (1877–1961), E. Ripoll Perello, ed., Vol. II:xv-xxiii, Diputacion Provincial de Barcelona, Instituto de Prehistoria y Arqueología, Barcelona, Spain.

Altamira, Santillana del Mar, Spain. Europe. Paleolithic art. Abbe Henri Breuil. History of research.

LMRAA.

Bradshaw, John L., 1998 (November). “Sermons in Stones: Fossils and the Evolution of Representational Art” in Rock Art Research 15(2): 124–25, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

RESPONSE TO JOHN FELIKS, RAR 15(2)109-124. PALEOLITHIC. NEOLITHIC. FOSSILS.

LMRAA.

Bradshaw, John L., 1999 (November). “To See is Not to Look: Comment on Eastham” in Rock Art Research 16(2): 100–101, Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

Europe. PALEOLITHIC CAVE PAINTING. HUMAN PERCEPTION. MOVEMENT. COMMENT, see MICHAEL EASTHAM, RAR 16(2): 89–108.

LMRAA.

Bradshaw, John L., 2000 (May). “Though Art’s Hid Causes are not Found” in Rock Art Research 17(1): 20–21, Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

PALEOLITHIC ART. PERCEPTION. INFORMATION PROCESSING. THE EVOLUTIONARY DEVELOPMENT OF EARLY MARK MAKING. PHOSPHENE THEORY. (Comment on Derek Hodgson, RAR, 17(1): 3–18).

LMRAA.

Bradshaw, John, 2003 (May). “The Roots of Art and the European Upper Palaeolithic” in Rock Art Research 20(1): 9–10, Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

RAR comment on “The Biological Foundations of Upper Palaeolithic Art: Stimulus, Percept and Representational Imperatives,” Derek, Hodgson, 2003, Vol. 20(1): 3–22. Paleolithic.

LMRAA.

Braun, Ingmar M., 2005. “Art Mobilier Magdalénien en Suisse” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 60: 25–44, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Switzerland. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art.

DialNet.

Braun, Ingmar M., 2012. “Objets d’Art Mobilier Paléolithiques Français dans les Collections Suisses” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 67: 27–36, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

http://gallica.bnf.fr/ark:/12148/bpt6k96307616/f7.image (accessed on 23 July 2017).

Switzerland, France. Europe. Paleolithic art. mobiliary (portable) art in Swiss collections.

Dialnet.

Braun, Ingmar M., 2015. “Thoughts on Ice Age Art” in The Genesis of Creativity and the Origins of the Human Mind, Barbora Puta and Soukup Vaclav, eds., 130–138, Charles University in Prague, Karolinum Press, Czech Republic. ISBN: 978-80-246-2677-2.

Europe. Paleolithic art.

LMRAA.

Braun, Ingmar M., 2015 (December). “Interdisciplinary Interpretations of Anthropomorphic Composite Beings in European Upper Palaeolithic Cave Art: An Approach” in EXPRESSION: Quaterly e-Journal of Atelier in Cooperation with UISPP_CISNEP International Scientific Commission on the Intellectual and Spiritual Expressions of Non-Literate Peoples, (10): 10–15, Atelier Editions, Capo di Ponte, Italy. ISSN: 2499-1341.

http://www.uispp.org/sites/uispp.org/files/downloads/expression_10.pdf (accessed on 3 April 2016).

Europe. Paleolithic art. Composite anthropomorphic being, human / animal conflation motif(s).

Internet.

Braun, Ingmar M., 2016. “Interdisciplinary Interpretations of Anthropomorphic Composite Beings in European Upper Palaeolithic Cave Art: An Approach” in Art and Religion, Emmanuel Anati, ed. Colloqui IX, 25–32, Atelier, Capo di Ponte, Italy.

Europe. Paleolithic art. Composite being motif(s).

Academia.edu.

Breisch, Richard L., 1987 (August). “The Conservation of European Cave Art” in National Speleological Society News, 285–291, National Speleological Society.

EUROPE. PALEOLITHIC CAVE ART. CULTURAL RESOURCE MANAGEMENT. CONSERVATION. PRESERVATION.

BRAM, PCARB.

Breuil, Abbé Henri, 1903. “Les Fouilles de la Grotte Mas d’Azil” in Bulletin Archaeologique, 434–435.

MAS D’AZIL, ARIEGE, FRANCE. EUROPE. PALEOLITHIC CAVE ART. Excavations.

FHCCA.

Breuil, Abbe Henri, 1904. “La Grotte de Teyjat” in Bulletin de la Societe Historique et Archeologique du Perigord, vol. XXXI: 52–54, Societe Historique et Archeologique du Perigord, ISSN: 1141-135X.

Teyjat, France. Europe. Paleolithic art.

ARP.

Breuil, H., 1905. “La Degenerescence des Figures d’Animaux en Motifs Ornementaux a l’Epoque du Renne” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres, vol. 49(1): 105–120, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/doc/crai_0065-0536_1905_num_49_1_71550 (accessed on 18 August 2017).

Europe. Paleolithic art. Animal motif(s).

Biblio, Persee.

Breuil, Abbe Henri, 1906. “L’Evolution de l’Art Parietal des Cavernes de l’Age du Renne” in Congres International d’Anthropologie et de Archeologie Prehistorique, vol. 1: 367–387, Monaco.

France. Europe. Paleolithic art.

Biblio.

Breuil, Abbe Henri, 1906. “Exemples de Figures Degenerees et Stylisees de l’Epoque du Renne” in Congres International d’Anthropologie et de Archeologie Prehistorique, vol. 1: 394, Monaco.

France. Europe. Paleolithic art.

Biblio.

Breuil, H., 1909. “L’Evolution de l’Art Quaternaire et les Travaux d’Eduard Piette” in Revue Archéologique, 4e série, vol. 13: 378–411.

France. Europe. History of research. Paleolithic art. Eduard Piette.

IIA, Internet

Breuil, Abbe Henri, 1912. “L’Age des Cavernes et Roches Ornees de France et d’Espagne” in Revue Archaeologique, 4th series, vol. XIX: 193–234.

France. Spain. Europe. Paleolithic art. Includes 37 figures.

Biblio.

Breuil, H., 1921. “Nouvelles Cavernes Ornees Paleolithique dans la Province de Malaga” in L’Anthropologie 31: 239–50, Masson, Paris, France. ISSN: 0003-5521.

Malaga, Andalusia, Spain. Europe. Paleolithic cave art.

Biblio.

Breuil, Henri, 1922. “Gravures Parietales des Grottes des Trois Freres et du Tuc d’Audoubert” in Revue Anthropologique, 50.

Trois Freres and Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art.

ARP.

Breuil, Abbé Henri, 1924. “Nouvelles Figurations Humaines de la Caverne David a Cabrerets (Lot)” in Revue Anthropologique, 165–171.

LA CAVERNE DAVID A CABRERETS, PECH-MERLE, LOT, FRANCE. EUROPE. PALEOLITHIC CAVE ART. HUMAN FIGURE MOTIF(S). 5 FIGURES.

FHCCA, Biblio.

Breuil, Henri, 1925. “Les Origines de l’Art” in Journal de Psychologie 22: 289–96.

Europe. Origins of Art. Paleolithic art.

IIA.

Breuil, Henri, 1926. “Les Origines de l’Art Decoratif” in Journal de Psychologie 23: 364–75.

Europe. Origins of Art. Paleolithic art.

IIA.

Breuil, Abbe Henri, 1927. “Oeuvres Paleolithiques Inedites du Perigord et Art Oriental d’Espagne” in Revue Anthropologique, 101–108.

Perigord, France. Spain. Europe. Paleolithic art.

Biblio.

Breuil, Henri, 1929. “Gravures de l’Aurignacien Superieur a l’Abri Labatut a Sergeac” in Revue Anthropologique, 147–151.

France. Europe. Paleolithic art. Includes 2 figures.

ARP.

Breuil, Henri, 1934. “De Quelques Oeuvres d’Art Magdaleniennes Inedites ou Peu Connues” in I.P.E.K. (Jahrbuch fur Praehistorische und Ethnographische Kunst), vol. 9: 1–3, Walter de Gruyter & Co, ISSN: 0075-0468.

France. Europe. Paleolithic art. Magdalenian.

IIA.

Breuil, Abbe Henri, 1934. “L’Evolution de l’Art Parietal dans les Cavernes et Abris Ornes de France” in Congres Prehistorique de France. 17 pgs.

France. Europe. Paleolithic art.

ARP.

Breuil, Abbé Henri, 1934. “Quelques Gravures Inedites de Laugerie-Basse” in Congres Prehistorique de France, 89–101.

Laugerie-Basse, France. Europe. Paleolithic art. Includes 7 figures.

ARP.

Breuil, Abbé Henri, 1934. “Les Descouvertes Paleolithiques en France et la Conservation des Grottes et Gisements” in Congres Archeologique de France, vol. 1:18 pgs.

France. Europe. Paleolithic art. Conservation and preservation.

ARP.

Breuil, Abbé Henri, 1934. “Les Oeuvres d’Art Magdalenien des Fouilles de Le Bel-Maury a Laugerie- Basse” in Congres Prehistorique de France, 89–101.

Laugerie-Basse, France. Europe. Paleolithic art. Includes 7 figures. Excavation.

ARP.

Breuil, H., 1935. “L’Evolution de l’Art Parietal dans les Cavernes et Abris Ornes de France” in Congres Prehistorique de France, Perigueux, XIe Session, 1934, 102–118.

France. Europe. Paleolithic cave art.

APGODQ.

Breuil, Abbé Henri, 1939. “Peintures Magdaleniennes de la Grotte des Eglises, a Ussat (Ariege)” in Melanges de Prehistoire et d’Anthropologie Offers per ses Collegues, Amis et Disciples au Professeur Conte H. Beguoen, J. Marsan, H. Delso., L.-G. Boursiac et al, eds., 271–279, Editions du Museum, Toulouse, France.

Grotte des Eglises, a Ussat, Ariege, France. Europe. Paleolithic art. Magdalenian.

FHCCA, Biblio.

Breuil, Abbé Henri, 1940. “La Grotte Chabot” in Bulletin de la Société Préhistorique Française, 339–341, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

Chabot Cave, France. Europe. Paleolithic art. Includes 4 figures.

ARP.

Breuil, Abbé Henri, 1940. “Découverte d’une Remarquable Grotte Ornée, au Domaine de Lascaux, Montignac (Dordogne)” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres, vol. 84(5): 347–376, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/search?q=art+rupestre&ta=article&c=crai (accessed on 18 August 2017).

Lascaux, Montignac, Dordogne, France. Europe. Paleolithic art. Discovery of Lascaux.

Persee.

Breuil, Abbé Henri, 1941. “La Cueva de Lascaux” in Atlantis Act. y Mem. Soc. Esp. de Hist., Etn. y Preh., 349–355.

Lascaux, Montignac, Dordogne, France. Europe. PALEOLITHIC CAVE PAINTINGS. 39 PLATES.

FHCCA.

Breuil, Abbé Henri, 1941. “Una Altamira Francesa: La Cueva de Lascaux en Montignac (Dordogne)” in Archivo Español de Arqueología, 361–386, Consejo Superior de Investigaciones Científicas, CSIC: Instituto de Historia, ISSN: 0066-6742.

Lascaux, Montignac, Dordogne, France. Europe. PALEOLITHIC CAVE PAINTING. 24 PLATES.

FHCCA.

Breuil, Abbé Henri, 1941. “Una Altamira Francaise: La Caverne de Lascaux a Montignac (Dordogne)” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres, vol. 85(5): 347–376, L’Academie des Inscriptions et Belles-Lettres, Paris, France. eISSN: 1969-6663.

http://www.persee.fr/doc/crai_0065-0536_1941_num_85_5_77450 (accessed on 18 August 2017).

Lascaux, Montignac, Dordogne, France. Europe. Paleolithic art.

ARP, Persee.

Breuil, Abbé Henri, 1950. “Les Peintures et Gravures Parietales de la Caverne de Niaux (Ariege)” in Bulletin de la Société Préhistorique de l’Ariège 5: 9–34, Société Préhistorique de l’Ariège, ISSN: 0245-9523.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art. 22 figures, 2 plates.

FHCCA, LMRAA, Biblio.

Breuil, Abbé Henri, 1950 (April 13). “Qui. Lascaux est Authentique” in Les Nouvelles Litteraires, (1180), Ariege Prehistoric Society.

Lascaux, Montignac, Dordogne, France. Europe. Paleolithic art. Authenticity (forgery, fake).

ARP.

Breuil, Abbé Henri, 1952. Four Hundred Centuries of Cave Art, 413 pgs, Centre d’Etudes Documentation Prehistoriques, Montignac, Dordogne, France.

RHONE BASIN and PYRENEAN REGION, LOT - DORDOGNE, GIRONDE – CHARENTE - VIENNE - YONNE, FRANCE. SPAIN. ITALY. EUROPE. Including: ALTAMIRA, FONT DE GAUME, LES COMBARELLES, LASCAUX, LES TROIS-FRERES, NIAUX, and CAVES and ROCK SHELTERS. ORIGIN OF ART, GEOGRAPHICAL DISTRIBUTION, CONDITIONS OF PRESERVATION, AGE OF THE CAVES, CHRONOLOGY AND EVOLUTION, UPPER PALEOLITHIC SUBDIVISIONS, THE FAUNA PAINTED, and TOOLS AND TECHNIQUES. SURVEY OF SIGNIFICANT CAVE AND ROCK SHELTER SITES. BIBLIOGRAPHY.

LMRAA, PRANSA, Melvyl (UCB Main: Call No: N5310 .B64:)

Breuil, Abbé Henri, 1952. “La Caverne de Niaux. Complements Inedits sur la Decoration” in Bulletin de la Société Préhistorique de l’Ariège, 7: 11–35, Société Préhistorique de l’Ariège, ISSN: 0245-9523.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art.

FHCCA, LMRAA, Biblio.

Breuil, Abbé Henri, 1954. “Les Datations par le C14 de Lascaux (Dordogne), at Phillip Caves (S.-W. Africa)” in Bulletin de la Société Préhistorique Française 51(11–12): 544–549, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1954_num_51_11_3123 (accessed on 15 October 2011).

Lascaux, Dordogne, France. Europe. Phillip Cave, South-West Africa (Namibia). Paleolithic art. C14 radiocarbon dating.

ARP, Persee, PAHBA.

Breuil, Abbé Henri, 1954. “Bas-Reliefs Feminins de la Madeleine (Penne, Tarn)” in Quaternaria vol. I, M.C. Blanc, Rome, Italy. ISSN: 0085-5235.

Madeleine, Penne, Tarn, France. Europe. Paleolithic art. Female bas-relief motif(s).

ARP.

Breuil, Henri, 1957. “En Lisant ‘L’Arte dell’Antica Eta della Pietra’ de P. Graziosi” in Quaternaria 4: 231–42.

Antica. Europe. Paleolithic art. Paolo Graziosi.

IIA.

Breuil, H., 1958. “La Decoration Parietale Prehistorique de la Grotte de Gargas” in Bulletin de la Societe d’Histoire Naturelle de Toulouse (93): 391–409, Societe d’Histoire Naturelle de Toulouse.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Hand motif(s).

Biblio.

Breuil, Abbé Henri, 1959. “Des Preuves de l’Authenticité des Figures Pariétales de la Caverne de Rouffignac” in Bulletin de la Société Préhistorique Française 56(1–2): 82–92, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1959_num_56_1_3555 (accessed on 15 October 2011).

Rouffignac, France. Europe. Paleolithic art. Authenticity.

Persee.

Breuil, Henri, 1959. “Norte Art de l’Epoque du Renne: Sa Succession, se Musees” in Zervos, 13–20, 109.

Europe. Paleolithic art.

IIA.

Breuil, H. and Begouen, H., 1913. “Peintures et Gravures Prehistoriques de la Grotte Mas d’Azil” in Bulletin de la Societe Archaeologie du Midi de la France, 2 Plates, Societe Archaeologie du Midi de la France.

MAS D’AZIL, ARIEGE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS AND ENGRAVINGS.

FHCCA.

Breuil, H. and Begouen, H., 1930. “Nouvelle Gravure d’Homme Masque de la Caverne des Trois-Freres Associees a des Animaux Composites” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres, 261–264, L’Academie des Inscriptions et Belles-Lettres, Paris, France.

Les Trois-Freres, Montesquieu-Avantes, Ariege, France. Europe. PALEOLITHIC CAVE PAINTINGS. HUMAN MASK ASSOCIATED WITH ANIMAL COMPOSITION MOTIF(S). 3 FIGURES.

FHCCA, Biblio.

Breuil, H. and Begouen, H., 1937. “Quelques Oiseaux Inedits ou Meconnus de l’Art Prehistorique” in Congres Prehistorique de France, 12e Session (Toulouse-Foix 1936), 475–488.

France. Europe. Paleolithic art. Bird motif(s).

UVAP.

Breuil, H. and Berger-Kirchner, L., 1961. “Franco-Cantabrian Rock Art” in The Art of the Stone Age: Forty Thousand Years of Rock Art, translated from the German by A.E. Keep, 15–72, Metheun, London, England.

FRANCE. SPAIN. EUROPE. FRANCO-CANTABRIAN ROCK ART. PALEOLITHIC CAVE ART.

BIBLIO, LMRAA.

Breuil, H., Cuguliere, Dr. and Begouen, H., 1922. “Peintures Rouges de la Grotte des Eglises a Ussat” in Revue Anthropologique, 234.

Grotte des Eglises a Ussat, France. Europe. Paleolithic art.

UVAP.

Breuil, H. and Jeannel, R., 1955. “La Grotte Ornee du Portel a Loubens (Ariege)” in L’Anthropologie 59(3–4): 197–204, Masson, Paris, France. ISSN: 0003-5521.

La Grotte Portel, Loubens, Ariege, France. Europe. Paleolithic art.

UVAP.

Breuil, H. and Lantier, R., 1951. Les Hommes de la Pierre Ancienne (Paleolithique et Mesolithique) Bibliotheque Scientifique, 334 pgs, Payot, Paris, France.

France. Europe. Paleolithic. Mesolithic.

LMRAA.

Breuil, Henri and Lantier, Raymond, 1965. The Men of the Old Stone Age (Palaeolithic and Mesolithic), 272 pgs, St. Martin’s Press, New York, New York.

France. Spain. Baltic. Europe. Paleolithic. Mesolithic. Cave art. Portable art (mobiliary).

LMRAA.

Breuil, H. and Obermaier, H., 1935. La Cueva de Altamira en Santillana del Mar, vol. VII: 223 pgs, Tipografia de Archivos, Madrid, Spain.

ALTAMIRA, SANTILLANA DEL MAR, SPAIN. EUROPE. PALEOLITHIC CAVE PAINTING. (ALSO PUBLISHED IN ENGLISH TRANSLATION by MARY E. BOYLE). 183 FIGURES. 52 PLATES.

FHCCA, BIBLIO, Melvyl (UCB Anthropol: Call No: GN784.3.A6 B72 1935 \f\ *c2 copies:)

Breuil, H., Obermaier, H. and Alcalde del Rio, H., 1913. La Pasiega. A Puente—Viesgo (Santander) (Espagne) Institut de Paléontologie Humaine (Fondation Albert 1er Prince de Monaco) Peintures et Gravures Murales des Cavernes Paléolithiques, 64+ pgs, Imprimerie Artistique Vve A. Chene, Monaco.

La Pasiega, Santander, Spain. Europe. Paleolithic cave painting.

LMRAA.

Breuil, L’Abbe Henri, Nougier, Louis-Rene and Robert, Romain, 1956. “Le “Lissoir aux Ours” de la Grotte de La Vache, a Alliat et l’Ours Dans l’Art Franco-Cantabrique Occidental” in Prehistorie Speleogie Ariegeoises XI: 15–78, Societe Prehistorique de l’Ariege, Toulouse, France.

ISTURITZ. PECHIALET (DORDOGNE). CHANLAT. LA COLOMBIERE. ATAPUERCA. LA VENTA DE LA PERRA. LAS MONEDAS. GARGAS. PAIR-NON-PAIR. CABRERETS. LASCAUX. FONT-DE-GAUME. ALDENE. LES ESPELUGUES. ARUDY. GOURDAN. LESPUGUE. LA TOURRASSE. MASSAT. LE MAS-D’AZIL. LE PORTEL. LIMEUIL. LAUGERIE-BASSE. LES EYZIES. LA MADELEINE. SANTIMAMINE. LES TROIS-FRERES. MONTESPAN. LA MAGDELEINE. LES COMBARELLES. COMARQUE. TEYJAT. VOGELHERD. GROTTE de LA VACHE. FRANCE. SPAIN. EUROPE. PALEOLITHIC ART. Mobiliary (portable) art. BEAR MOTIF(S).

LMRAA.

Breuil, H., Obermaier, H. and Verner, W., 1915. La Pileta a Benaojan, Malaga, Espagne Institut de Paléontologie Humaine (Fondation Albert 1er Prince de Monaco) Peintures et Gravures Murales des Cavernes Paléolithiques, 65+ pgs, Imprimerie Artistique Vve A. Chene, Monaco.

La Pileta a Benaojan, Malaga, Spain. Europe. Paleolithic cave painting.

BIBLIO, Melvyl (UCD Shields: Call No: N5310.5.P5 B7:), LMRAA.

Breuil, H. and Vidal, G., 1949–1950. “Les Fresques de la Galerie Vidal a la Caverne de Bedeilhac (Ariege)” in Bulletin de la Société Préhistorique de l’Ariège, 16 pgs, Société Préhistorique de l’Ariège, ISSN: 0245-9523.

Caverne de Bedeilhac, Ariege, France. Europe. Paleolithic cave paintings. 14 plates.

FHCCA.

Brezillon, M., 1984. “Le Paleolithique Superieur el l’Art Parietal Paleolithic” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 25–39, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

France. Europe. Paleolithic cave art.

Biblio, LMRAA.

Brielle, G., 1968. “Les Bouquetins dans l’Art Parietal Quarternaire Pyreneen” in Travaux de l’Institut d’Art de l’Université de Toulouse I, vol. 10: 31–96, Universite de Toulouse. Faculte des Lettres et Sciences Humaines, Toulouse, France.

Pyrennes, France. Europe. Paleolithic art. Ibex motif(s).

IIA.

Broca, M. Paul, 1873. “The Troglodytes, or Cave-Dwellers, of the Valley of the Vezere” in Annual Report of the Smithsonian Institution 1872, 310–347, Smithsonian Institution, Washington, D.C.

Vezere River, France. Europe. Paleolithic cave art. Troglodyte (Cromagnon). Portable art (mobiliary).

RANMAB, BSABSR, LMRAA.

Brodrick, Alan Houghton, 1948. Prehistoric Painting, 40 pgs, Avalon Press, London, England.

World. Paleolithic cave painting.

RPPSCAb2, LMRAA.

Brodrick, Alan Houghton, 1949. Lascaux; a Commentary, 142 pgs, L. Drummond.

Lascaux, Montignac, Dordogne, France. Europe. Paleolithic cave painting.

Melvyl (NRLF/UCB: Call No: B 3 125 190:).

Brodrick, Alan Houghton, 1963. Father of Prehistory. The Abbe Henri Breuil: His Life and Times, 306 pgs, William Morrow and Company, New York, New York.

FRANCE. SPAIN. EUROPE. SOUTH AFRICA. BIOGRAPHY. ABBE HENRI BREUIL. PALEOLITHIC CAVE PAINTING. FRANCO CANTABRIAN. SAN (BUSHMAN) ROCK ART.

LMRAA (2 copies)

Broglio, A. and Gurioli, F., 2004. “The Symbolic Behaviour of the First Modern Humans: the Fumane Cave Evidence (Venetian Pre-Alps)” in La Spiritualité. Actes du Colloque de la Commission 8 de l’UISPP (Paléolithique Supérieur). Liège 10–12 Décembre 2003, dirigido por M. Otte Etudes et Recherches Archeologiques de l’Universite de Liege, ERAUL 106, 97–102, Éditions Eraul, Universite de Liege, Liege, Belgium.

Fumane Cave, Venetian Pre-Alps, Italy. Europe. Paleolithic art.

Biblio.

Brot, Jean, 2010–2011. “L’Utilisation des Reliefs Naturels dans l’Art Pariétal Paléolithique” in Symposium 1: L’Art Pléistocène dans le Monde Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 36–37, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

France. Europe. Paleolithic art. Rock feature incorporation. Wall morphology. Three dimensional representations.

Abstract: “À partir de l’étude d’une trentaine d’oeuvres pariétales gravées et sculptées, sélectionnées dans le quart sud-ouest de la France sur des sites d’art aurignacien, gravettien, solutréen et magdalénien (fig. 1) il est proposé de montrer comment les artistes-plasticiens préhistoriques, à l’aide des reliefs naturels et de la morphologie des parois, ont pu produire de manière cohérente des représentations tridimensionnelles et les structurer parfois en de vastes ensembles. Cette recherche, basée sur de nombreux paramètres techniques, démontre le caractère réfléchi, organisé et conceptuel de cette pratique de l’usage des reliefs dans le temps et dans l¿espace. Elle révèle un emploi absolument structuré et maîtrisé d’une procédure de construction qui, loin d¿être aléatoire, devrait trouver son statut de technique à part entière pour la production de représentation en volume. La démonstration, soutenue par la production de sculptures expérimentales et artistiques, apporte de nouveaux éléments de lecture qui permettent de comprendre les conséquences de l’intégration des reliefs rocheux au sein d’une figure (mouvements, attitudes, dimensions).En autorisant l’observateur à s’approcher du moment de leur conceptualisation, cette analyse donne les moyens de tenter de pénétrer dans une partie de l’univers mental des imagiers paléolithiques.”

Dialnet.

Brot, J., 2012. “L’Utilisation des Reliefs Naturels dans l’Art Parietal Paleolithique” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI: Book: 36–37, CD: 75-91, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Europe. Paleolithic art. Rock feature incorporation. Reliefs.

Biblio, LMRAA.

Brown, G. Baldwin, 1928. The Art of the Cave Dweller. A Study of the Earliest Artistic Activities of Man, 280 pgs, John Murray, London, England.

France. Spain. Europe. Paleolithic art.

LMRAA.

Bru, Margarita, 2006. “The Cave of Los Casares (Guadalajara)” in International Rock Art Congress, 1994 American Indian Rock Art Volume 21, vol. 3: 11–15, American Rock Art Research Association, Phoenix, Arizona. ISBN: 0-9767121-3-X.

Los Casares Cave, Guadalajara, Spain. Europe. Paleolithic art. Anthropomorph, human motif(s).

LMRAA.

Bruet, Marc, 2012. Lascaux. La Scene du Puits, 188 pgs, L’Harmattan, Paris, France. ISBN: 978-2-296-55973-8.

Lascaux, Dordogne, France. Europe. Paleolithic art. Ithyphallic man with bird-staff and bison motif(s).

RASNWV, Internet.

Brumm, Adam, 2003 (November). “State of Origins: Art, Cognition and the Uncertain Mindedness of the First Australians” in Rock Art Research 20(2): 106–107, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

United States. North America. South America. Asia. India. Siberia. China. Japan. Mideast. Australia. Africa. Europe. World. Pleistocene (paleolithic) art. Paleoart. Mobiliary (portable) art. Art origins. Comment on Robert G. Bednarik, 2004, RAR, 20(2): 89–135.

LMRAA.

Brumm, A. and Moore, M.W., 2005. “Symbolic Revolutions and the Australian Archaeological Record” in Cambridge Archaeological Journal 15(2): 157–75, McDonald Institute for Archaeological Research, Cambridge, England. ISSN: 0959-7743.

Australia. Pleistocene (paleolithic) art.

RASNW4.

Brunet, Jacques, 2006. “Un Exemple de Conservation Preventive: La Grotte Cosquer” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques, 76–78, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

Grotte Cosquer, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

Internet.

Brunet, Jacques, 2006. “La Grotte de Rouffignac: Un Exemple de Conservation Active” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques, 79–80, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

Rouffignac, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

Internet.

Brunet, Jacques, Guillamet, Eudad and Plassard, Jean, 1997. “The Elimination of Graffiti at Roufignac” in International Newsletter on Rock Art (17): 11–15, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Rouffignac Cave, Vezere River Valley, France. Europe. PALEOLITHIC CAVE PAINTING. CONSERVATION AND PRESERVATION. GRAFFITI REMOVAL AT THE “GREAT CEILING” PANEL. LIGHTENING OF GRAFFITI OVERLAYS WAS ACHIEVED BY THE APPLICATION OF DILUTED AMMONIA SOAKED COTTON BUDS WITH DEMINERALISED WATER RINSE.

LMRAA.

Brunet, J., Rouzaud, F. and de Sonneville-Bordes, D., 1989. “Table Ronde sur le Theme. “Techniques et Methodes”“ in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 167, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Cavernes du Volp: Enlene, Les Trois-Freres, Le Tuc-D’Audoubert, France. Europe. Prehistoric art. Paleolithic art. Research Methodology.

LMRAA.

Brunet, Jacques and Vidal, Pierre, 1984. “Surveillance et Measures de Protection” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 57–62, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

France. Europe. Paleolithic cave art. Cultural resource management. Conservation and preservation.

LMRAA.

Brunet, J. and Vidal, P., 1984. “Preservation of Ornamental Caves in France” in International Symposium on the Conservation and Restoration of Cultural Property: Conservation and Restoration of Mural Paintings (1), 17–21 November 1983, Tokyo, Japan, Y. Emoto and S. Miura, eds., 125–141, International Research Institute of Cultural Property, Tokyo, Japan.

Font-du-Gaume, Pech Merle, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservtion.

Abstract: “Illustrates, with a few examples, the general policy of conservation of prehistoric mural paintings in France. Outlines the theoretical studies: the black frieze of the Pech-Merle Cave and the environment of the Font-de-Gaume Cave; describes intervention and protective maintenance, installation, and equipment.” (See also AATA 23-1404.)

PCARB, AATA.

Brunet, Jacques and Vidal, Pierre, 1987. “Interventions sur les Oeuvres Pariétales Préhistoriques” in PACT 17: 411–22.

France. Europe Paleolithic art. Cultural resource management. Conservation and preservation

Abstract: “Studies the main deterioration factors affecting prehistoric rock paintings and drawings. These include muddy deposits from human or natural origin, concretions, traces of rubbing, soot deposits, and graffiti. Examples of conservation treatment carried out in prehistoric caves from the south of France are presented including mechanical removal of muddy concretions, application of paper pulp compresses for the removal of the soot; mechanical removal of the calcite, protection from running water by installation of elastomer cushions.” Abstractor: ICCROM AATA Nos.:1992-29316 and 29-593.

AATA.

Brunet, J. and Vidal, P., 1989. “Conservation des Grottes Ornees” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 179–191, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Lascaux, Font-de-Gaume, Combarelles, Teyjat, Villars, Sanit-Circq-du-Bugue, Abri du Cap Balnc, La Greze, Bernifal, Niaux, Gargas, Pech-Merle, Mas-d’Azil, Portel, Cougnac, Rouffignac, la Mouthe, Tete-du-Lion, Pair-non-Pair, la Baume-Latrone and Moulin-de-Laguenay, France. Altamira, Spain. Europe. Prehistoric art. Paleolithic art. Cultural resource management. Conservation and preservation. Intervention and restoration. With discussion by M. Biton, P. Vidal, G. Delluc, M. Lorblanchet, F. Soleilhavoup and Brunet, J.

LMRAA.

Brunet, J. and Vidal, P., 1989. “Le Probleme du Seuil de Frequentation” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 229–239, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

France. Europe. Prehistoric art. Paleolithic art. Cultural resource management. Conservation and preservation. Public access. With discussion by M. Archambeau, J. Brunet, C. Bassier, J. Clottes, F. Guichard, F. Rouzaud and J.-P. Pouxviel.

LMRAA.

Brunet, Jacques, Vidal, Pierre and Vouve, Jean, 1990. “La Conservation de Lascaux” in Lascaux Premier Chef d’Oeuvre de l’Humanite Les Dossiers d’Archeologie, (152): 68–75, Editions Faton, Dijon, France. ISSN: 1141-7137.

Lascaux, Montignac, Dordogne, Perigord, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

Abstract: “Sums up: 1) the difficulties that led to the closing of the Lascaux cave in 1963; 2) the multidisciplinary studies carried out, i.e., geology, hydrogeology, mineralogy, biology, technology; and 3) the solutions found to return the cave to conditions favorable to its conservation. Lascaux has been saved; the cave is in a good state of conservation and is carefully monitored and controlled.” Abstractors: Jacques Brunet and Michele Buchholz AATA Nos.:1991-84035 and 28-1593.

LMRAA, AATA.

Brunet, Jacques, Vouvé, Jean and Malaurent, Philippe, 2000. “Re-Establishing an Underground Climate Appropriate for the Conservation of the Prehistoric Paintings and Engravings at Lascaux” in Conservation and Management of Arqueological Sites 4(1): 33–45, London, England.

Lascaux, Dordogne, France. Europe. Cultural resource management. Conservation and preservation. Microclimate. Paleolithic art.

Abstract: “The prehistoric paintings and engravings of the Lascaux cave almost disappeared in the 1960s, victims of their own fame. The facilities installed to allow public access to the cave disturbed and destabilized the equilibrium that had been responsible for conserving the cave’s art. The complexity of the parameters involved raised the question: had the age-old equilibrium, which had kept the rock art in such excellent condition, been irretrievably destroyed? Thirty years of measurements and research have made it possible to examine, in both the short term and the long term, the validity of the decisions that were taken. It was found that the climatic equilibrium of this natural cave, essential to the appropriate control of the underground environment, could be restored. Since 1996, automated data collection tools, which remain reliable even in harsh environmental conditions, have replaced manual data collection methods. The continuous monitoring made possible by automatic data collection represents a great advance in the scientific management of this type of cultural heritage.”

AATA.

Brusa Zappelleni, Gabriella, 2009. “Radici Antropologiche dell’Immaginario e del Fantastico nell’Arte Animalistica del Paleolitico Superiore” in Making History of Prehistory: The Role of Rock Art, Papers/Produrre Storia dalla Preistoria: Il Ruolo dell’Arte Rupestre, Pre-Atti del XXIII Valcamonica Symposium (Capo di Ponte, 28 Ottobre–2 Novembre 2009), 79-86, Centro Camuno di Studi Preistorici, Capo di Ponte, Italy. ISBN: 88-86621-33-7.

http://www.ccsp.it/web/INFOCCSP/VCS%20storico/vcs2009pdf/Brusa%20Zappellini.pdf (accessed on 3 July 2015).

Europe. Paleolithic art. Figurative animal (bestiary) motif(s).

Abstract: “The figurative bestiary of Upper-Palaeolithic art corresponds to the inner repertory of our visual memory: its degree of abstraction does not compromise its value of recognisability. Still there are some rare images that seem able to break this naturalistic horizon. In the darkness of caves it can happen that the horses’ neck gets excessively long (the Pergouset “monsters”), the legs multiply and the snouts dilate to the shape of a duck’s beak (Le Portel). At Lascaux the ramification of the deer’s horns develop into extravagant arabesques. In the Chauvet cave the head of a bear emerges from the willowy body of a feline. In several illustrated panels we can see living together in a curious mix of species animals that never meet each other in nature: seals facing horses (Cosquer cave); quadrupeds mixing with fishes (Lorthet). Are they the first signs of an imaginary bound to burst, thousands of years later, into the chimeras populating the artistic creativity of protohistoric and ancient world (perhaps medieval too)? Or does it exist a structural difference between the Palaeolithic imaginary and the animal fantastic of later cultures ?”

LMRAA, Internet.

Bruzek, Jaroslav, Láznickova-Galetová, Martina, Galeta, Patrik and Maestracci, Jéremy, 2010–2011. “Les Empreintes de Mains dans l’Art Pariétal: Possibilités et Limites d’Interprétations Mises en Relief par l’Anthropologie Médico-Légale” in Symposium 7. Application des Techniques “Forensiques” aux Recherches sur l’Art Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 210–211, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Hand print motif(s). Pleistocene (paleolithic) art. Forensics.

Abstract: “En art pariétal, les empreintes de mains sont souvent directement attribuées aux auteurs des représentations proches. L’analyse morphologique de cette partie anatomique dans un contexte médico-légal d’identification démontre qu’il est impossible de déterminer l’âge et le sexe d’un individu uniquement par la forme de sa main. En ce qui concerne la stature des sujets ayant effectué ces empreintes, certaines méthodes sont applicables en tenant compte de l’inférence statistique et la variabilité biologique.”

Dialnet.

Buccellato, Cecilia Albana, Tufano, Emiliano and Tusa, Sebastiano, 2012. “Scoperta di un Nuovo Complesso Figurativo Inciso Presso una delle Cavità del Complesso di Grotta di Cala Tramontana a Nord di Grotta di Cala dei Genovesi a Levanzo (Trapani)/New Group of Prehistoric Painted and Incised Rock Art of Grotta Cala Tramontana in Levanzo” in L’Arte Preistorica in Italia. vol. 1. Atti della XLII Riunione Scientifica dell’IIPP. Trento, Riva del Garda, Val Camonica, 9–13 Ottobre 2007 Preistoria Alpina, vol. 46(1): 71–76, ISSN: 03993-0157.

Grotta Cala Tramontana, Levanzo, Italy. Europe. Paleolithic art.

Internet.

Bueno Ramírez, Primitiva, 2008. “Espacios Decorados al Aire Libre del Occidente Peninsular. Territorios Tradicionales de Cazadores-Recolectores y de Productores” in Arte Prehistórico al Aire Libre en el Sur de Europa, Rodrigo Balbin Behrmann, ed., 323–-346, Junta de Castilla y León, Consejería de Cultura y Turismo, Salamanca, Spain. ISBN: 978-84-9718-592-9.

https://www.academia.edu/2236677/Espacios_decorados_al_aire_libre_del_occidente_peninsular._Territorios_tradicionales_de_cazadores-recolectores_y_de_productores (accessed on 30 April 2014).

Western Peninsular Spain. Europe. Open air sites. Territory. Paleolithic. Postpaleolithic.

Abstract: “La concentración de grafías en yacimientos al aire libre dela zona occidental de la Península Ibérica, propone una serie de novedosas reflexiones acerca de la proximidad espacial de figuras paleolíticas y postpaleolíticas. El interés por marcar y definir el territorio no se asocia demodo exclusivo a los grupos postpaleolíticos, como lasversiones más evolucionistas de la Arqueología del Paisaje vienen señalando, sino que entronca con los grupos decazadores paleolíticos que se asentaron en las riberas delTajo, Guadiana y Duero, a lo largo de todo el Paleolítico Superior. Las concomitancias técnicas, se suman a las espaciales y a la más que posible contextualización habitacional, para proponer hipótesis concretas sobre el uso deterritorios tradicionales desde, cuando menos, el tardigla-ciar en adelante.Trasladar estas perspectivas de análisis a ambos ciclos degrabados, paleolítico y postpaleolítico, aporta parámetrosde interés para unos y otros especialistas, en aras a comprender mejor la importancia de los marcadores gráficos y supapel en las culturas prehistóricas de la Península Ibérica.”

Dialnet, Academia.edu, LMRAA.

Bueno Ramírez, Primitiva and Balbín Behrmann, Rodrigo de, 2009. “Marcadores Gráficos y Territorios Tradicionales en la Prehistoria de la Península Ibérica” in Cuadernos de Prehistoria y Arqueología de la Universidad de Granada, vol. 19: 65–100, Universidad de Granada: Departamento de Prehistoria y Arqueología, ISSN: 0211-3228.

https://www.academia.edu/1337359/Marcadores_graficos_y_territorios_tradicionales_en_la_Peninsula_Iberica (accessed on 22 October 2016).

Iberian Peninsula, Spain. Europe. Territory. Paleolithic. Neolithic. Chalcolithic.

Abstract: “The close relationship between the position of the graphics and the economic territories of the groups are diachronically tested. The world of the Paleolithic hunters is not only the darkness of the caves, but the mountains, valleys and rivers outdoor, whose symbo-lic references are engraved and painted on the stones. They are pioneers in the graphic definition of the places that belong to their daily world. The recurrence in the decora-tion of the same sites has the finding with the presence of post-palaeolithic graphics. It presents the major sites as outdoor display of traditional territories, whose boundaries are known for joing the group, and whose use and transit are insured by the symbols of the ancestors.”

Dialnet, RASNW4, Academia.edu, RASNWV.

Bueno-Ramírez, Primitiva, and Bahn, Paul, G., eds., 2015. Prehistoric Art as Prehistoric Culture, Studies in Honour of Professor Rodrigo de Balbín-Behrmann, 180 pgs, Archaeopress, Oxford, England. ISBN: 9781784912222. Epublication ISBN: 9781784912239.

Europe. Paleolithic art. Open air art.

Abstract: “Professor Rodrigo de Balbín has played a major role in advancing our knowledge of Palaeolithic art, and the occasion of his retirement provides an excellent opportunity to assess the value of prehistoric art studies as a factor in the study of the culture of those human groups which produced this imagery. The diverse papers in this volume, published in Professor de Balbín’s honour, cover a wide variety of the decorated caves which traditionally defined Palaeolithic art, as well as the open-air art of the period, a subject in which he has done pioneering work at Siega Verde and elsewhere. The result is a new and more realistic assessment of the social and symbolic framework of human groups from 40,000 BP onwards.”

Internet.

Bueno Ramírez, Primitiva and Balbín Behrmann, Rodrigo de and Alcolea González, José Javier, 2007. “Style V dans le Bassin du Douro: Tradition et Changement dans les Graphies des Chasseurs du Paléolithique Supérieur Européen” in L’Anthropologie 111(4): 548–89, Masson, Paris, France. ISSN: 0003-5521.

http://www.sciencedirect.com/science?_ob=PublicationURL&_tockey=%23TOC%237226%232007%23998889995%23672687%23FLA%23&_cdi=7226&_pubType=J&_auth=y&_acct=C000228598&_version=1&_urlVersion=0&_userid=10&md5=5333cc00608b73ed754412692cbd6756 (accessed on 18 August 2011).

Siega Verde, Douro Valley, Salamanca, Spain. Portugal. Europe. Paleolithic art in the open air.

Abstract: “The documentation of some figures of hoofed in Siega Verde on panels of palaeolithic style and its stylistic references in the whole south of Europe, constitutes the starting point of the reflection on the presence of style v in the outdoors sites of the peninsular occident. In the Douro’s region exists a richer documentation than the habitual in Europe: the outdoors panels of Côa and Siega Verde, the engravings on palaeolithic figures of La Griega, the paintings with direct chronologies of Ojo Guareña, the decorated plaquettes of the level 4 of Fariseu and the pebbles and plaquettes of Estebanvela. Painting in the caverns, outdoors and cave engravings and mobile art, with good references of absoland ute chronology between 11,500 BP and 9000 BP that confirm the continuity of the Palaeolithic art. If we compare the data of the peninsular occident with those of the north, those of Levant and those that begin to be known in Andalusia, the coincidence of dates is astonishing. In the same way if we compare these ones with the dates of the South of France and Italy. The external art of the western facade of the Iberian Peninsula possesses not only a unite palaeolithic contrasted sequence but rather it also puts in evidence the reality of the recurrent and continued locations in the whole sector during 30,000 years. Above the 11,000 BP, the transformations of the hunter groups begin to be evident in the whole south of Europe and the graphics demonstrate these changes, with a progressive transformation of contents and style that leads to a bigger schematization. The interesting cohabitation among naturalism and schematism that demonstrate the direct dates of C14, apparent a progressive transformation that discards radical ruptures between the social and graphic world of the palaeolithic hunters and their heirs.”

Internet, RASNW4.

Bueno Ramírez, Primitiva, Balbín Behrmann, Rodrigo de and Alcolea González, José Javier, 2008. “Estilo V en el Ambito del Duero: Cazadores Finiglaciares en Siega Verde (Salamanca)” in Arte Prehistórico al Aire Libre en el Sur de Europa, Rodrigo Balbin Behrmann, ed., 259–286, Junta de Castilla y León, Consejería de Cultura y Turismo, Salamanca, Spain. ISBN: 978-84-9718-592-9.

https://www.academia.edu/2234890/Estilo_V_en_el_ambito_del_Duero_cazadores_finiglaciares_en_Siega_Verde_Salamanca_ (accessed on 30 April 2014).

Rio Duero, Siega Verde, Salamanca, Spain. Europe. Style V. Paleolithic art. Style. Continuity.

Abstract: “La documentación de algunas figuras de ungulados en Siega Verde sobre paneles de estilo paleolítico y sus referencias estilísticas en todo el Sur de Europa, constituye elpunto de partida para reflexionar sobre la presencia de estilo V en los yacimientos al aire libre del occidente peninsular. Este posee en el área del Duero una documentación más rica de lo normal en el ámbito europeo: los paneles al aire libre del Côa y de Siega Verde, los grabados sobre figuras paleolíticas de la Griega, las pinturas concronologías directas de Ojo Guareña, las placas decoradas del nivel 4 de Fariseu y los cantos y placas de Estebanvela.Pintura en cueva, grabados al aire libre, en cueva y arte mueble, con buenas referencias de cronología absoluta entre el 11500 BP y el 9000 BP que avalan la continuidad del Arte Paleolítico. El arte al aire libre de la fachada occidental de la Península Ibérica no sólo posee una contrastada secuencia paleolítica, sino que evidencia la realidad de asentamientos recurrentes y continuados en todo el sec-tor durante más de 30.000 años. Si comparamos los datos del occidente de la Península con los del Norte o los del Levante y los que comienzan a barajarse en Andalucía, la coincidencia de fechas es abrumadora. Al igual que si comparamos éstas con las del Sur de Francia o las de Italia. En torno al 11000 BP las transformaciones de los grupos cazadores comienzan a ser evidentes en todo el Sur de Europa y las grafías verifican esos cambios visualizando una transformación progresiva de contenidos y estilo que conduce a una mayor esquematización de los mismos. La interesante convivencia entre naturalismo y esquematismoque demuestran las fechas directas de C14, apunta a una paulatina transformación que descarta rupturas drásticas entre el mundo social y gráfico de los cazadores paleolíticos y sus herederos.”

Dialnet, Academia.edu, LMRAA.

Bueno Ramirez, Primativa, Babin Behrmann, Rodrigo de, Barroso Bermejo, Rosa and Carrera, Ramirez, 2011. “Painting Versus Engraving: Paleolithic and Postpaleolithic Rock Art in the International Tagus—Sierra de San Pedro (Santiago de Alcantara and Valencia de Alcantara, Caceres)” in From the Origins: The Prehistory of the Inner Tagus Region, P. Bueno Ramirez, E. Cerrillo Cuenca and A. Gonzalez Cordero, eds. British Archaeological Reports (BAR) International Series, (S2219): 7–22, Archaeopress, Oxford, England. ISBN: 978 1 4073 0777 0.

https://www.academia.edu/2700573/Paintig_versus_engraiving_Paleolithic_and_postpaleolithic_rock_art_in_the_International_Tagus-_Sierra_de_San_Pedro_Santiago_de_Alcantara_and_Valencia_de_Alcantara_Caceres_ (accessed on 30 April 2014).

Sierra de San Pedro (Santiago de Alcantara and Valencia de Alcantara, Caceres)Inner Tagus Region, Portugal and Spain. Europe. Paleolithic. Post-Paleolithic.

Abstract: “The increase in the number of known painted shelters identified through targeted surveys proves the validity of the latter and establishes a series of patterns that are extensive to other territories in which schematic painting is supposedly absent. The data from Sierra de San Pedro confirmthe protagonism of painting at the sites of the western peninsula, from the UpperPalaeolithic, thus breaking with the traditional barriers of open air art. Grajera 2, Boquerón 1 and 5 demonstrate the existence of open air shelters with Palaeolithic art, thus opening a new scope of locations for Palaeolithic art that fit with our suggestion of their close connection to the places in which Schematic art is documented. The symbols act as the most visible evidence of the systematic of the territorial occupation. The graphical sequence must be understood as an indicator of matching archaeological sequences, which support a populational continuum that moves away from the hypotheses of depopulation as the exclusive line from which to explain the processes of production. If there is something that is reflected by the graphical sites of the western peninsula, it is the recurrence of the same enclaves throughout the generations. Apprenticeship, inheritance, mnemotechnic rules and collective identification are some of the messages that the paintings and engravings materialised on the stones of the International Tagus from the Upper Palaeolithic onwards.”

Academia.edu.

Bueno Ramirez, Primativa, et al., 2010. “Secuencias Gráficas Paleolítico-Postpaleolítico en la Sierra de San Pedro. Tajo Internacional. Cáceres” in Trabajos de Prehistoria 67(1): 197–209, Consejo Superior de Investigaciones Científicas, CSIC: Servicio de Publicaciones, ISSN: 0082-5638.

Sierra de San Pedro, Caceres, Spain. Europe. Graphics; Paleolithic; Post-Paleolithic; Territory; Tagus.

Abstract: “Our surveys, based on the theoretical statement of a predictive model that considers the presence of outdoor paintings, make the Sierra de San Pedro one of the most important schematic painting groups of the Iberian Peninsula. Its parallel development to the sites with outdoor engravings in the International Tagus draws a complex set of symbols with a major role in the definition of megalithic territories. The identification of Palaeolithic figures coincides with similar recurrences documented in outdoor sites of the western peninsula, pointing to the resort to the past as one of the arguments of vindication and use of traditional territories.”

Internet, Dialnet, RASNW4, Academia.edu, Biblio.

Bueno Rodgriguez, Primativa, Balbin, Behrmann, Rodrigo de and Barroso Bermejo, Rosa, 2016. “Les Mégalithes et Leur Insertion Sémantique dans le Paysage. Langage d’Ancêtres” in Signes et Communication dans les Civilisations de la Parole, Actes des 139e Congrès National des Sociétés Historiques et Scientifiques, Nimes, 2014, Claude Mordant, Olivier Buchsenschutz, Christian Jeunesse et Denis Vialou, dirs., 70–86, Edition Electronique du CTHS, Paris, France. ISSN: 1773-0899.

http://cths.fr/_files/ed/pdf/04_bueno.pdf (accessed on 11 March 2017).

Brittany, France. Iberian Peninsula, Spain. Europe. Rock features: Megalith, menhir, stele. Megalithic art. Upper Paleolithic. Neolithique.

Abstract: “Large stones have been identified in the Megalithic landscape of Brittany. J. L’Hegouach and S. Cassen’s research has focalised on an important core of these monuments dating from the 5th millennium BC. More recent studies carried out in the Iberian Peninsula have highlighted the unprecedented wealth of data from this area which allows us to reflect on the function of these large stones in relation to the megalithic structures. This inventory underlines the similarities between the Iberian Peninsula and Brittany. Stone circles or lines can transform into dolmens, isolated menhirs or steles become the founding stone of a dolmen. This represents proof of the complexity and the varying situations in which these ancient stones are the forerunners of megalithic construction into which they are integrated for the duration of the megalithic phase. The engravings and paintings on the rocks and large stones constitute markers of territories populated since the Late Palaeolithic in the Iberian Peninsula.”

Internet.

Buisson, D., Fritz, C., Kandel, D., Pincon, G., Sauvet, G. and Tosello, G., 1996. “Les Contours Decoupes de Tetes de Chevaux et leur Contribution a la Connaissance du Magdalenien Moyen” in Antiquités Nationales 28: 99–128.

http://www.creap.fr/pdfs/Buisson_et_al_AN1996.pdf (accessed on 27 November 2011).

Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art. Engraved bone. Horse head motif(s).

CREAP.

Buisson, D. and Gambier, D., 1991. “Faconnage et Gravure sur des Os Humains d’Isturitz (Pyrenees-Atlantiques)” in Bulletin de la Société Préhistorique Française 88(6): 172–77, Société Préhistorique Française, Paris, France.

Isturitz, Atlantic Pyrenees, France. Europe. Paleolithic art. Mobiliary (portable) art. Bone.

UVAP.

Buisson, D., Menu, M., Pinçon, G. and Walter, Ph., 1989. “Les Objets Colorés du Paléolithique Supérieur: Cas de la Grotte de La Vache (Ariège)” in Bulletin de la Société Préhistorique Française 86(6): 183–92, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1989_num_86_6_9384# (accessed on 9 October 2011).

Grotte de La Vache, Ariège, France. Europe. Paleolithic art. Mobiliary (portable) art. Pigment analysis.

Abstract: “La Vache cave (near Alliât, Ariege, south of France) presented many bone art objects. They are engraved and colored, several alternatively in red and black. Examinations and analysis have been undertaken with a Scanning Electron Microscope in order to characterise prehistoric paint. The red (hematite) and black (manganese oxide) pigments are without any single exception associated with biotite. This study let us rediscover the « receipes » used by the artists of the Final Magdalenian Period.”

Persee.

Bullen, Margaret, 2011 (May). “Creativity, Mental Disorder, and Upper Palaeolithic Cave Art” in Rock Art Research 28: 117–22, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Europe. Upper Paleolithic cave art. Creativity. Mental disorder. David Whitley.

Abstract: “This paper will address the tantalising question of why, about thirty five thousand years ago, people living in western Europe produced pictorial art of extraordinary beauty and symbolism. Did it really arise out of nowhere and what changed? Modern science is beginning to provide answers to some of the questions but many remain.”

LMRAA, Refdoc.fr.

Bullen, Margaret, 2012 (May). “Response to Patricia Helvenston” in Rock Art Research 29: 110–12, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Europe. Rock art studies. Pseudoscience. Reply to Helvenston’s comment on “Creativity, Mental Disorder and Upper Paleolithic Cave Art,” Margaret Bullen, RAR 28(1), 2011. David Whitley. Mood disorder. Bi-polar illness. Paleolithic art.

LMRAA.

Bullen, Margaret, 2014. “Rock Art and Spirituality: Is the Rock Art of 30,000 Years Ago a Window to the Spirituality of the People of the Paleolithic?” in Rock Art and Sacred Landscapes One World Archaeology, vol. 8: 11–24, Springer, New York, Heidelberg, Dordrecht, London. ISBN: 978-1-4614-8405-9 (Print) 978-1-4614-8406-6 (Online). DOI: 10.1007/978-1-4614-8406-6 (accessed on 31 October 2013).

Europe. Australia. Paleolithic art. Spirituality.

Abstract: “30,000 years ago Homo sapiens sapiens painted the lions of Chauvet and battled the uncertainties of life. Today Homo sapiens sapiens has many answers but still battles uncertainties. How alike are they?”

Internet, LMRAA.

Burkitt, Miles C., 1921. “108. A New Find in Palaeolithic Cave Art” in Man 21: 183–85, Royal Anthropological Institute of Great Britain and Ireland, London, England.

http://www.jstor.org/stable/2839855 (accessed on 22 August 2017).

Paleolithic art.

JSTOR.

Burkitt, M.C., 1933. The Old Stone Age. A Study of Palaeolithic Times, 254 pgs, Cambridge University Press, London, England.

France. Spain. Europe. Paleolithic Cave Art.

LMRAA.

Burnet, Albert, 2007. “Les Gravures de Qurta. Un Lascaux sur le Nil?” in Archeologia (448): 56–59, Editions Faton, Dijon, France. ISSN: 0570-6270.

Qurta, Egypt, Nile River. North Africa. Paleolithic art. Dirk Huyge.

RASNW4, SHB.

Burón Alvarez, Milagros and Fernández Moreno, José Javier, 2009. “El Reto de la Gestión del Arte Rupestre: Experiencias en Castilla y León” in El Arte Rupestre del Arco Mediterráneo de la Península Ibérica.10 años en la Lista del Patrimonio Mundial de la UNESCO: Actas IV Congreso (Valencia, 3, 4 y 5 de diciembre de 2008), José Antonio López Mira (coord.), Rafael Martínez Valle (coord.), Consuelo Matamoros de Villa (coord.), 249–258, Generalitat Valenciana, ISBN: 978-84-482-5304-2.

Siega Verde, Castilla y León, Spain. Europe. Cultural resource management. Conservation and preservation. Paleolithic art. Open air.

Dialnet, LMRAA.

Bustamante D., Patricio, Yao, W. Fay and Bustamante, Daniela, 2010–2011. “From Pleistocene Art to the Worship of the Mountains in China. Methodological Tools for Mimesis in Paleoart” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 328–329, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

China. South Asia. Pleistocene (Paleolithic). Pareidolia.

Abstract: “Bednarik (2009) described the Makapansgat jasperite cobble, a stone shaped as a human face deposited 2.5 to 3 million years ago. Tsao et al. (2006) demonstrated that face perception is a crucial skill to primates, humans and macaque monkeys. Applying two methodological tools of the Entorno Archaeology - Psychological and Geographical Entorno-, may allow to understand the process that probably led Pleistocene humans to regard as sacred rocks -Mimetoliths- and objects -Mimetomorphs with natural forms that resembled animals or human beings, in increasing scale, from small rocks, big rocks, mountains and Mountainous ranges, in the early Chinese culture, where we have found that three mythological characters: Pan-Gu (Å̹Å), Fu-Xi (·üôË) and Shen-Nong (ÉñÅ©), probably were sacred mountains. Mimesis, by the psychological phenomena of Pareidolia, Apophenia and Hierophany (The PAH triad), might explain the many instances when humans between Pleistocene and early Chinese culture attributed religious significance or extraordinary connections to ordinary imagery and subjects. On the other hand, Mimetoliths and Mimetomorphs might contribute to explain the origins of Palaeoart, animism and religion.”

Dialnet.

Cabré Aguiló, Juan, 1934. “La Cueva de Los Casares” in Las Ciencias vol. 1(4), Madrid, Spain.

Los Casares, Iberian Peninsula, Spain. Europe. Paleolithic art.

Biblio.

Cabré Aguiló, Juan, 1934. “Las Cuevas de Los Casares y de La Hoz” in Archivo Espanol de Arte y Arqueologia, vol. 30: 225–254.

Los Casares and La Hoz, Iberian Peninsula, Spain. Europe. Paleolithic art.

Biblio.

Cabré Aguiló, Juan, 1935. “Cave Art of Some 30,000 Years Ago: A Wonderful Discovery in Spain. Human Beings and Fishes in 30,000-Year-Old Drawings: A Unique Find” in The Illustrated London News, (5.014), London, England.

Spain. Europe. Paleolithic art. Human and fish motif(s).

Biblio.

Cabré Aguiló, Juan, 1936. La Cueva de Los Cesares, Riba de Saelices, Guadalajara (Espana), Brussels, Belgium.

Los Cesares, Riba de Saelices, Guadalajara, Spain. Europe. Paleolithic art.

Biblio.

Cabré Aguiló, Juan, 1940. “Figuras Antropomorfas de La Cueva de Los Cesares (Guadalajara)” in Archivo Español de Arqueología (41): 81–96, Consejo Superior de Investigaciones Científicas, CSIC: Instituto de Historia, Madrid, Spain. ISSN: 0066-6742.

Los Cesares, Guadalajara, Spain. Europe. Paleolithic art. Anthropomorph motif(s).

Biblio.

Cabrera Valdés, Victoria and Quirós Guidotti, Federico Bernaldo de, 1994. “Cronología del Arte Paleolítico” in Ejemplar Dedicado a: Arte Paleolítico Complutum 5: 265–76, Universidad Complutense, Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164330 (accessed on 1 December 2011).

Europe. Paleolithic art. Chronology. Style analysis.

Abstract: “Theoretical approaches and new analítical techniques are changing our perspective about the Palaeolithic rock art. Chrono/ogy, archaeological excavations, stylistic ana/ysis and the study of the artist as an individual can offer new invigorating points of view on the subject.”

Dialnet.

Cabrol, Patrick and Mangin, Alain, 2006. “Le Mise en Valeur et la Protection des Grottes a Concretions” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Mineral concretions.

Internet.

Cacho, Carmen, Ripoll Lopez Sergio and Municio Gonzalez, Luciano J., 2001. “L’Art Mobilier d’Estebanvela” in Les Premiers Hommes Modernes de la Peninsule Iberique, Actes du Colloque de la Commission VIII de I’UISPP. Vila Nova de Foz Coa, 22–24 Octobre 1998, J. Zilhao, T. Aubry and A.F. Carvalho, eds. Trabalhos de Arqueologia, Vol. 17: 175–182, Instituto de Gestao do Patrimonio Arquitetonico e Arqueologico (IGES PAR), Lisbon, Portugal. ISBN: 972-8662-00-9.

http://www.igespar.pt/media/uploads/trabalhosdearqueologia/17/16.pdf (accessed on 11 February 2012).

Estebanvela, Segovia, Sierra d’Ayllon, System Central, Spain. Europe. Mobiliary (portable) art. Paleolithic art.

Internet

Cacho Toca, Roberto and Gálvez Lavín, Nerea, 1997. “Aplicaciones de la Fotografía Digital en el Estudio y Reproducción de las Pinturas Rupestre Paleolíticas” in 32,000 B.P.: Una Odisea en el Tiempo. Reflexiones sobre la Definicion Cronologia del Arte Parietal Paleolitico, R. Cacho and N. Galez, eds. Edades, Revista de Historica, vol. 2: 7–20, Asociación Universitaria de Jóvenes Historiadores de Cantabria, Santander, Spain. ISSN: 1138-8560.

Europe. Paleolithic art. Documentation. Digital photography.

Dialnet.

Caldwell, Duncan, 2010–2011. “The Identification of the First Paleolithic Animal Sculpture in the Ile-de-France: The Ségognole 3 Bison and its Ramifications” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 74–75, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Ségognole 3, Ile-de-France, France. Europe. Paleolithic art. Middle Magdalenian. Rock sculpture. Bison motif(s).

Abstract: “A 190cm bison sculpture exists beside Ségognole 3’s vulva and horses. The deep grooves making up parts of the vulva and bison are technically identical, making them likely Paleolithic contemporaries, but differ from the light incisions making up the horses. Compositional analyses reveal how the frieze resembles ones at Guy-Martin and Roc-aux-Sorciers. A survey of representations with some natural contours shows that mammoths and bison seem to be the main species illustrated this way. This adds support to a “prey-mother” hypothesis linking “armor-headed” herbivores and some Paleolithic feminine imagery. Finally, the kind of compositional inquiry that led to the bison’s discovery is shown to have wider applications.”

Dialnet.

Caldwell, D., 2012. “The Identification of the First Palolithic Animal Sculpture in the Ile-de-France: The Segognole 3 Bison and its Ramifications” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI:Book: 74–75, CD: 415–457, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Ile-de-France, France. Europe. Paleolithic art. Magdalenian. Rock sculpture. Animal, bison motif(s).

Biblio, LMRAA.

Calleja Fernández, Santiago, 2015. “Los Contornos Recortados de Caballo de Tito Bustillo (Ribadesella, Asturias). Estudio y Paralelos Estilísticos” in XIX International Rock Art Conference IFRAO 2015. Symbols in the Landscape: Rock Art and Its Context, H. Collado, J. J. García Arranz, eds. Arkeos, Perspectivas em Dialogo, vol. 37: 715–734, Centro Europeu de Investigaçao da Pré-História do Alto Ribatejo (CEIPHAR), Tomar, Portugal. ISSN: 0873-593X.

Tito Bustillo, Ribadesella, Asturias, Spain. Europe. Paleolithic art. Horse motif(s). Style.

Abstract: “The archaeological Works carried out over several decades in Tito Bustillo cave (Ribadesella, Asturias) have allowed us to document one of the most important collections of palaeolithic ornaments in the Cantabria area, not only for the variety of materials (mollusk shells, animal teeth, bone, antler, minerals and fossils) but also for the exceptional quality of some pieces. Within this collection, the trimmed contours of hyoid bone make a singular category, particularly, the four horseheads found on a high ledge in a deep area inside the cave. The analysis of its formal and technical features allows us to compare them with the contours découpés form the Pyrenean area. These objects of adornment show so strong morphological homogeneity that we cannot relate some particular parameters to any specific sites. Thus, analogies with other elements of the material culture –with a strong symbolic component- have been sought, primarily, with other objects of adornment. This has enabled us to correlate the ornaments found in Tito Bustillo with similar objects from certain Pyrenean sites, allowing a better understanding both of the mobility patterns and the exchange networks between Cantabrian and Pyrenean areas during the Middle Magdalenian.”

Academia.edu, LMRAA (CDRom).

Caltagirone, Jean-Paul and Lacanette, Delphine, 2006. “Le Simulateur Lascaux. Un Outil d’Aide a la Decision pour l’Avenir de la Prehistoire” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques, 94–97, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

Lascaux, Dordogne, France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Simulation.

Internet.

Cameron, David W., 1993 (May). “The Archaeology of Upper Paleolithic Art: Aspects of Uniformitarianism” in Rock Art Research 10(1): 3–17, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

RESEARCH METHODOLOGY. SCIENTIFIC METHOD. ARCHAEOLOGY. INTERPRETATION. UPPER PALEOLITHIC. COMMENTS BY BERNARD M. J. HUCHET, DANIEL TANGRI, ROBERT G. BEDNARIK, JOHN HALVERSON. REPLY BY AUTHOR.

LMRAA.

Campbell, J., Ellwood, W. and Winn, N., 2012. “Invisible Late Pleistocene Rock Art: Lessons from Northern Australia and the British Isles” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI: Book: 182–183, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Northern Australia. British Isles. Europe. Late Pleistocene (Paleolithic) rock art.

Biblio, LMRAA.

Campo, Y. and Fourcade, G., 1965. “Les Gravures Schematiques du Camarin de la Gortte de Gargas” in Travaux de l’Institut d’Art Prehistorique, 21–24, Universite de Toulouse. Faculte des Lettres et Sciences Humaines, Toulouse, France.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Schematic Motif(s).

Biblio.

Camps, G., 1972. “Art Paleolithique et Manifestation de la Personnalite” in Santander Symposium Symposium Internacional de Arte Rupestre, Santander—Asturias, 14 al 20 de Septiembre 1970, 139–147, Union Internationale des Sciences Prehistoriques et Protohistoriques, Madrid, Spain.

Europe. Paleolithic cave art.

LMRAA, PAPPM.

Camps, G., 1984. “La Defecation dans l’Art Paleolithique” in La Contribution de la Zoologie et de l’Ethologie a Interpretation de l’Art des Peuples Chasseurs Prehistoriques, Actes du 3e Colloque International de la Societe Suisse des Sciences Humaines, Sigriswill, 1979 H.-G. Bandi, W. Huber, M.-R. Sauter and B. Sitter, eds., 251–262, Editions Universitaires, Fribourg, Germany. ISBN-10: 2827102714 ISBN-13: 978-2827102716.

Europe. Paleolithic art. Defecation motif(s).

Biblio.

Cantalejo Duarte, Pedro and Espejo Herrerias, Maria del Mar, 1998. “Arte Rupestre Paleolitico del Sur Peninsular. Consideraciones sobre los Ciclos Artisticos de los Grandes Santuarios y sus Territorios de Influencia” in Revista Atlantica-Mediterranea de Prehistoria y Arqueologia Social 1: 77–96, Universidad de Cadiz.

Southern Iberian Peninsula, Spain. Europe. Paleolithic art. Style. Great sanctuaries.

Abstract: “Se exponen una serie de planteamientos sobre el Arte Rupestre Paleolítico del Sur de la Península Ibérica desde posturas vinculantes a las distintas fases observadas en las secuencias arqueológicas próximas. Enmarcamos a los grandes santuarios de agregaciones en conceptos socio-económicos y en sus territorios afines. Las distintas relaciones artísticas observadas, los ciclos, los tecnocomplejos y los propios comportamientos sociales están ligados a territorios de caza y a las relaciones de reproducción.”

Biblio, Internet.

Cantalejo Duarte, Pedro, Espejo Herrerías, María del Mar, Maura Mijares, Rafael, Ramos Muñoz, José and Aranda Cruces, Antonio, 2006. “Arte Rupestre Paleolítico en el Complejo de Cuevas del Cantal en el Rincón de la Victoria (Málaga): Cuevas de la Victoria, el Higuerón y el Tesoro” in Mainake 28: 399–422, Centro de Ediciones de la Diputación de Málaga (CEDMA), ISSN: 0212-078X.

http://dialnet.unirioja.es/servlet/articulo?codigo=2582239 (accessed on 1 December 2011).

Cuevas de la Victoria, el Higuerón and el Tesoro, Cantal en el Rincón de la Victoria, Málaga, Spain. Europe. Paleolithic art.

Abstract: “The subterranean complex of El Cantal (Rincón de la Victoria, Málaga), nowadays known under the touristic name of Cueva del Tesoro, treasures an important collection of Prehistoric rupestrian art, which was discovered by the Abbot Henri Breuil in 1918. The authors of this article, after twenty years since their last research on it, are now attaining an approach to its contents, taking into account the new proposals about art, the hunters societies and the chronology studied, both for the coast area and the inland of the provincie of Málaga during Upper Palaeolithic.”

Dialnet.

Cantalejo Duarte, Pedro, Espejo Herrerías, María del Mar, Maura Mijares, Rafael, Ramos Muñoz, J., Medianero Soto, Francisco Javier and Aranda Cruces, Antonio, 2005. “Vínculos Iconográficos, Económicos y Sociales de los Grupos Humanos del Paleolítico Superior con el Agua” in VI Simposio del Agua en Andalucía: 1 a 3 de Junio, 2005 Sevilla, Juan Antonio López Geta, J. C. Rubio Campos, M. Martín Machuca, eds., vol. 2: 1401–1414, ISBN: 84-7840-578-X.

Europe. Paleolithic art. Water.

Dialnet.

Cantalejo, P., Maura, R., Aranda, A. and Espejo, M. del M., 2007. Prehistoria en las Cuevas del Cantal, 264 pgs, Editorial La Serrania, Malaga, Rincon de la Victoria, Spain. ISBN: 84-96607-20-0.

Andalucia, Malaga, Spain. Europe. Paleolithic art. Schematic art.

Biblio, RASNW4.

Cantalejo, P., Maura, R. and Becerra, M., 2006. Arte Rupestre Prehistorico en la Serrania de Ronda. Valles del Guadario, Turon y Guadalteba, 176 pgs, Editorial La Serrania, Ronda, Spain. ISBN: 84-96607-04-6.

Serrania de Ronda, Guadario Valley, Turon and Guadalteba, Andalucia. Paleolithic art. Schematic rock art.

Biblio, RASNW4.

Cantalejo Duarte, Pedro, Maura Mijares, Rafael, Espejo Herrerías, María del Mar, Ramos Muñoz, Jose, Medianero Soto, Francisco Javier and Aranda Cruces, Antonio, 2005. “Evidencias de Frecuentación Prehistórica Registradas en la Cueva de Ardales (Málaga)” in IV Simposio de Prehistoria. Cueva de Nerja. La Cuenca Mediterranea Durante el Paleolitico Superior, 38,000–10,000 Anos, Sanchidrián Torti, J. L., Marquez Alcantara, A.M. and Fullola i Pericot, J.M., eds., 352–365, Fundación Cueva de Nerja, ISBN: 84-920268-5-5.

Cueva de Ardales, Málaga, Spain. Europe. Paleolithic art.

Dialnet.

Cantet, M. and Clot, A., 1974. “Datation de l’Art Parietal a Gargas” in Revue de Comminges 87: 1–14, Société des Etudes du Comminges, ISSN: 0035-1059.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Dating.

Biblio.

Capdeville, Eric, 1985. Les Signes Tectiformes dans l’Art du Paléolithique Supérieur en Europe Mémoire de Maîtrise, 447 pgs, Institut d’Art Prehistorique, Universite de Toulouse, Toulouse, France.

Europe. Paleolithic art. Geometric sign, tectiform motif(s).

Biblio, Internet.

Capdeville, E., 1986. “Apercus sur le Probleme des Signes Tectiformes dans l’Art Parietal Paleolithique Superieur d’Europe” in Travaux de l’Institut d’Art de l’Université de Toulouse, vol. 28: 59–104, Universite de Toulouse. Faculte des Lettres et Sciences Humaines, Toulouse, France.

Europe. Paleolithic art. Tectiform motif(s).

IIA.

Capitan, L., 1911. “Les Empreintes de Mains sur les Parois de la Grotte de Gargas” in Bulletin Archeologique du Comite Des Travaux Historiques et Scientifiques (CTHS), 87–88.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Hand motif(s).

Biblio.

Capitan, Louis, 1912. “Les Bas-Reliefs a Figurations Humaines de Laussel” in Revue Anthropologique, 316–324.

Laussel, France. Europe. Paleolithic art. Human figures in bas-relief motif(s).

ARP.

Capitan, Louis, 1913. “Les Dernieres Decouvertes Prehistoriques se Rapportant a l’Origine de l’Art” in Revue Scientifique I: 705–8.

France. Europe. Paleolithic art.

ARP.

Capitan, L., 1913. “Les Statues d’Argile Prehistoriques de la Caverne du Tuc d’Audoubert (Ariege)” in Revue Anthropologique 23(4): 128–33.

Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art. Clay sculpture. Bison motif(s).

UVAP.

Capitan, L., 1923. “La Magie Chez les Magdaleniens du Tuc d’Audubert” in Revue Anthropologique (5–6): 169–170.

Tuc d’Audoubert, Ariege, France. Europe. Paleolithic art. Magdalenian.

UVAP.

Capitan, L., 1923. “Les Manifestations Ethnographiques et Magiques sur les Parois del a Grotte de Montespan” in Revue Anthropologique 33(11–12): 545–50.

Montespan, Ariege, France. Europe. Paleolithic art. Ethnography. Magic.

UVAP.

Capitan, Louis and Bouyssonie, Jean, 1924. Un Atelier d’Art Prehistorique: Limeuil—Son Gisement a Gravures sur Pierres de l’Age due Renne Publications de l’Institut International d’Anthropologie, (1): 41 pgs, Nourry, Paris, France.

Limeuil, France. Europe. Paleolithic art.

IIA.

Capitan, L. and Breuil, H., 1901. “Les Grottes a Parois Gravees ou Peintes a l’Epoque Paleolithique” in 11th Annual Revue de l’Ecole d’Anthropologie, 321–325, Paris, France.

France. Europe. Paleolithic art.

ARP.

Capitan, L. and Breuil, H., 1902. “Les Gravures sur les Parois des Grottes Paleolithiques” in 12th Annual Revue de l’Ecole d’Anthropologie, 34, Paris, France.

France. Europe. Paleolithic art.

ARP.

Capitan, L., Breuil, H. and Ampoulange, 1904. “Une Nouvelle Grotte a Parois Gravees a l’Epoque Prehistorique: La Grotte de la Greze” in 14th Annual Revue de l’Ecole d’Anthropologie, 320–325, Paris, France.

Greze Cave, France. Europe. Paleolithic art.

ARP.

Capitan, L., Breuil, H., Bourrinet, P. and Peyrony, D., 1908. “La Grotte de la Mairie a Teyjat. Fouille d’un Gisement Magdalenien” in Revue de l’Ecole d’Anthropologie, 153–173, Paris, France.

Teyjat Cave, France. Europe. Paleolithic art. Archaeological excavation.

ARP.

Capitan, L., Breuil, H., Bourrinet, P. and Peyrony, D., 1912. “Les Gravures sur Cascade Stalagmitique de la Grotte de la Mairie a Teyjat” in Congres International d’Anthropologie et d’Archeologie Prehistorique, 498–514, Paris, France.

Teyjat Cave, France. Europe. Paleolithic art. Engravings on stalagmites.

ARP.

Capitan, L., Breuil, H. and Peyrony, D., 1903. “Une Nouvelle Grotte a Parois Gravees a l’Epoque Prehistorique: La Grotte de Teyjat” in 13th Annual Revue de l’Ecole d’Anthropologie, 364–367, Paris, France.

Teyjat Cave, France. Europe. Paleolithic art.

ARP.

Capitan, L., Breuil, H. and Peyrony, D., 1904. “Une Nouvelle Grotte a Parois Gravees: La Calevie (Dordogne)” in Revue de l’Ecole d’Anthropologie, 370–381.

CALEVIE, DORDOGNE, FRANCE. EUROPE. PALEOLITHIC CAVE ART. 2 FIGURES.

FHCCA.

Capitan, L., Breuil, H. and Peyrony, D., 1904. “Une Nouvelle Grotte a Parois Gravees: a l’Epoque Prehistorique: La Calevie” in 14th Annual Revue de l’Ecole d’Anthropologie, 1132–1133, Paris, France.

Calevie Cave, France. Europe. Paleolithic art.

ARP.

Capitan, L., Breuil, H. and Peyrony, D., 1910. La Caverne de Font-de-Gaume aux Eyzies, Dordogne Peintures et Gravures Murales des Cavernes Paleolithiques, 271+ pgs, Imprimerie Vve A. Chene, Monaco.

Font-de-Gaume, Les Eyzies, Dordogne, France. Europe. Paleolithic cave painting. 244 Figures. 67 Plates.

FHCCA, BIBLIO, LMRAA.

Capitan, L., Breuil, H. and Peyrony, D., 1914. “La Croze a Gontran. Grotte a Dessins Aurignaciens” in Revue Anthropologique, 277–280.

Croze, Gontran, France. Europe. Paleolithic art.

ARP.

Capitan, L., Breuil, H. and Peyrony, D., 1924. Les Combarelles aux Eyzies, Dordogne Peintures et Gravures Murales des Cavernes Paleolithiques, vol. V: 192 pgs, Institut de Paleontologie Humaine, Fondation Albert ler, Prince of Monaco, Monaco.

LES COMBARELLES, LES EYZIES, DORDOGNE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTING. 128 FIGURES. 58 PLATES.

FHCCA, BIBLIO.

Capitan, L., Breuil, H., Peyrony, D. and Bourrinet, P., 1934. “Recherches Effectuees dans la Grotte de la Mairie a Teyjat” in Congres Prehistorique de France, 372–378, Periguex, France.

Teyjat Cave, France. Europe. Paleolithic art.

ARP.

Capitan, Louis and Peyrony, Denis, 1921. “Les Origines de l’Art a l’Aurignacien Moyen. La Ferrrassie” in Revue Anthropologique, 92–112.

Ferrassie, France. Europe. Paleolithic art.

ARP.

Capitan, L. and Peyrony, D., 1928. La Madeleine. Son Gisement, son Industrie, ses Oeuvres d’Art Publications de l’Institut International d’Anthropologie, (2): 126 pgs, Librairie E. Nourry, Paris, France.

La Madeleine, France. Europe. Paleolithic art.

UVAP.

Capitan, L., Peyrony, D. and Bouyssonie, Abbe J., 1914. “L’Art des Cavernes. Les Dernieres Decouvertes en Dordogne” in Revue Anthropologique, 164–170.

Dordogne, France. Europe. Paleolithic art.

ARP.

Caralp, Emile, Nougier, Louis-Rene and Robert, Romain, 1973. “Le Theme du “Mammifere aux Poissions” dans l’Art Magdalenien” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège, vol. 28: 11–23, Societe Prehistorique de l’Ariege, Toulouse, France.

La Vache, Alliat - Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Mammals with fish motif(s). Magdalenian.

LMRAA.

Caralp, E., Nougier, L.-R. and Robert, R., 1976. Art Prehistorique d’Ariege, 109 pgs, Imprimerie Champ de Mars, Saverdun, France.

Massat, Portel, Tuc d’audubert, Trois Freres, Eglises, Ussat-les-Bains, Fontanet, Mas-d’Azil, Bedeilhac, Niaux, Ariege, France. Europe. Paleolithic art.

UVAP.

Carballo, J., 1963. The Cave of Altamira and Other Caves with Paintings in the Province of Santander, 96 pgs, Patronato de las Cuevas Prehistoricas de la Provincia de Santander.

Altamira, Santander, Spain. Europe. Paleolithic cave paintings.

Melvyl (NRLF/UCB: Call No: B 2 828 289:), LMRAA (2nd edition, 1956, 1965).

Carbonell i Roura, E., 2012. “Les Comportements Religieux au Paleolithique Inferieur” in Prehistoire des Religions Religions et Histoire, vol. 45: 26–29, ISSN: 1772-7200.

Europe. Paleolithic. Spirituality. Religion.

Biblio.

Carcauzon, C., 1988. “Decouverte de Quatre Grottes Ornees en Perigord” in Archéologia 235: 16–24.

Perigord, France. Europe. Paleolithic art.

UVAP.

Carciumaru, M., 2010. “Contributions a la Connaissance de l’Art Parietal Prehistorique de Roumanie” in Annales d’Universite Valahia Targoviste, Section d’Archeologie et d’Histoire 12(1): 39–83, ISSN: 1584-1855.

Roumania. Central Europe. Paleolithic art.

Biblio.

Carciumaru, M. and Bitiri, M., 1983. “Peintures Rupestres de la Grotte Cuciulat (Roumanie)” in Bulletin de la Société Préhistorique Française 80(3): 94–96, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

Grotte Cuciulat, Romania. Central Europe. Paleolithic art.

Biblio.

Cârciumaru, Marin, Nitu, Elena-Cristina and Tutuianu-Cârciumaru, Minodora, 2010–2011. “L’Art Mobilier Gravettien et Epigravettien de Roumanie” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 240–241, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Romania. Eastern Europe. Paleolithic. Mobiliary (portable) art. Gravettian. Epigravettian.

Abstract: “En Roumanie, quelques stations gravettiennes et épigravettiennes se distinguent par le nombre des objets d’art qui y ont été découverts. L’établissement de Mitoc-Malul Galben (comm. de Mitoc, dép. de Botoþani) nous a offert peut-être le plus ancien objet d’art pour le Paléolithique supérieur de Roumanie (26 700 ± 1 040 BP), à savoir une amulette-pendeloque, réalisée dans un éclat de cortex. Une seconde pendeloque découverte à Mitoc-Malul Galben vient d’être publiée. Elle a été obtenue à partir d’un fragment diaphysaire d’un os long d’herbivore adulte de grande taille. Dans le niveau gravettien de la grotte Cioarei, daté entre 25 900 ± 120 BP et 23 570 ± 230 BP, ont été découvertes (1995–1996) une pendeloque gravée, une incisive et une phalange d’ours des cavernes (Ursus spelaeus) perforées, ainsi que des perles de collier et une pierre comportant des incisions circulaires. Des trois perles découvertes, deux ont été façonnées dans des stalactites et la troisième dans un os fossile. L’habitat de Poiana Ciresului offre un potentiel exceptionnel quant à la définition des aspects culturels du Paléolithique supérieur. En ce qui concerne les artefacts réalisés sur MDA, Poiana Ciresului-Piatra Neamt est, sans doute, le plus important de Roumanie, tant par leur nombre que par leur variété. Les armes sont représentées par trois pointes en ivoire et une en bois de cervidé, les éléments de parure sont assez variés et consistent par exemple en dent de cerf perforée, canine de loup perforée, collier fait de douze coquilles perforées: deux diaphyses avec incisions, un fragment d’os gravé notamment, renvoient à la catégorie des matériaux indéterminables.”

Dialnet.

Carciumaru, M., Nitu, E.-C. and Tutuianu-Carciumaru, M., 2012. “Temoignages Symboliques au Mousterien” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV–LXVI, Book: 282–283, CD: 1627–1641, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Europe. Paleolithic art. Mousterien.

Abstract: “Comme nous le savons, il existe à présent bon nombre de témoignages concernant la récolte de l’ocre. Certains auteurs ont évoqué la possibilité de son utilisation pour le tatouage chez l’homme de Neandertal. La découverte dans la grotte Cioarei de récipients pour la préparation de l’ocre représente la preuve matérielle directe concernant la pratique de la peinture corporelle par les communautés moustériennes. Ils témoignent de la préparation et de l’utilisation de l’ocre dans un sens bien précis, consciemment et avec des significations connues préalablement.”

Biblio, LMRAA.

Carrasco Rus, Javier, Riquelme Cantal, José Antonio, Sanchidrián Torti, José Luis, Pachón Romero, Juan Antonio , and Navarrete Enciso, María Soledad, 2004. “La Cabra Montés (Capra Pyrenaica, Schinz 1838) en el Registro del Pleistoceno Superior y Holoceno de Andalucía y su Incidencia en el Arte Prehistórico” in Antiquitas (Ayuntamiento de Priego-Córdoba), vol. 16: 27–66, Museo Historico Municipal de Priego, Cordoba, Spain. ISSN: 1133-6609.

Andalucia, Spain. Europe. Paleolithic art. Holocene. Wild goat motif(s).

Abstract: “Se realiza un estudio sobre el registro paleontológico y arqueofaunístico de la cabra montés a partir de los datos recopilados en 45 yacimientos andaluces del Pleistoceno Superior y Holoceno. Aunque la mayor parte de las muestras son muy escasas y en algunos yacimientos no se proporcionan más que datos cualitativos o preliminares, parece claro que la cabra montés es tanto más frecuente cuanto más abrupta la orografía en el entorno de un yacimiento. Así mismo, como pieza de caza, parece ser que sólo durante el Paleolítico Medio y Superior es esta especie un elemento importante de las taxocenosis, acusando un primer marcado descenso con la entrada del Holoceno y un segundo descenso con la llegada de las economías productoras a la Península Ibérica. También se estudian sus principales representaciones en el Arte parietal y sus relaciones muebles en Andalucía.”

Dialnet.

Cartailhac, Emile, 1876–1877. “L’Art Chez les Chasseurs de Rennes de l’Europe Prehistorique” in Bulletin de la Societe d’Histoire Naturelle de Toulouse, 188–216, Societe d’Histoire Naturelle de Toulouse.

France, Europe. Paleolithic art.

ARP.

Cartailhac, Emile, 1882–1883. “Gravure sur Os de Massat (Ariege)” in Materiaux, Vol. 13:348.

Massat, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art. Bone.

UVAP.

Cartailhac, M. Emile, 1885. “Oeuvres Inedites des Artistes Chasseurs de Rennes” in Materiaux pour l’Histoire Primitive et Naturelle de l’Homme, vol. XIX: 63–75.

https://books.google.com/books?id=fGAhAQAAIAAJ&pg=PA63&lpg=PA63&dq=Oeuvres+Inedites+des+Artistes+Chasseurs+de+Rennes&source=bl&ots=ZkCfvcnhOW&sig=xMh5YYGWITcNWYQNWf-z3kclFns&hl=en&sa=X&ved=0ahUKEwiviLrZ04TMAhVGwmMKHUfqDmcQ6AEIIzAB#v=onepage&q=Oeuvres%20Inedites%20des%20Artistes%20Chasseurs%20de%20Rennes&f=false (accessed on 10 April 2016).

France. Europe. Paleolithic art.

Biblio, Internet.

Cartailhac, E., 1902. “Les Cavernes Ornees de Dessins, la Grotte d’Altamira, Espagne: ‘Mea Culpa d’un Sceptique’” in L’Anthropologie 13: 348–354, Masson, Paris, France. ISSN: 0003-5521.

Cueva de Altamira, Santander, Spain. Europe. Paleolithic cave paintings. Cartailhac issues his retraction of his scepticism that the Altamira cave paintings are of Paleolithic age.

Biblio, LMRAA (photo copy).

Cartailhac, Emile, 1906. “La Salon Noir Prehistorique de l’Ariege” in L’Anthropologie 17: 622–24, Masson, Paris, France. ISSN: 0003-5521.

Salon Noir, Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic art.

UVAP.

Cartailhac, Emile, 1906. “Nouvelles Grottes a Peintures” in Revue Prehistorique, 269–272.

Salon Noir, Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic art. History of research.

UVAP.

Cartailhac, Emile, 1906 (October 19). “Sur la Decouverte du Salon Noir de Niaux apres son Exploration le 28 Septembre 1906” in Comptes Rendus de Sceances de l’Academie des Inscriptions et Belles-Lettres, L’Academie des Inscriptions et Belles-Lettres, Paris, France.

Salon Noir, Niaux, France. Europe. Paleolithic art. Animal motif(s).

Biblio.

Cartailhac, Emile, 1906–1909. “Les Mains Rouges et Noires et les Dessins Paleolithiques de la Grotte de Gargas” in Bulletin de la Societe Archaeologie du Midi de la France, vol. XXXVII: 140–141, Societe Archaeologie du Midi de la France.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Hand motif(s). Red and black pigments.

Biblio.

Cartailhac, E., 1908. “Les Plus Anciens Artistes de l’Humanite” in Revue des Pyrennes, (20): 509–527.

Pyrennes, France. Europe. Paleolithic art.

IIA.

Cartailhac, E. and Breuil, H., 1905. “Les Peintures et Gravures Murales des Cavernes Pyreneennes. II. Marsoulas pres Salies (Haut-Garonne)” in L’Anthropologie XVI: 431–44, Masson, Paris, France. ISSN: 0003-5521.

MARSOULAS, HAUT-GARONNE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS AND ENGRAVINGS.

Biblio.

Cartailhac, E. and Breuil, H., 1906. La Caverne d’Altamira a Santillane pres Santander (Espagne), 275 pgs, Monaco.

Cueva de Altamira, Santillane, Santander, Spain. Europe. Paleolithic cave painting. 38 Plates. 205 Figures.

FHCCA, Biblio.

Cartailhac, E. and Breuil, H., 1907. “Une Seconde Campagne aux Cavernes Ornees de Niaux (Ariege) et de Garas (Hautes-Pyrenees)” in Comptes Rendus de l’Acadamie des Inscriptions 51: 213–22.

Niaux, Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic cave paintings.

FHCCA, Biblio.

Cartailhac, E. and Breuil, H., 1908. “Les Peintures et Gravures Murales des Cavernes Pyreneennes. III. Niaux (France)” in L’Anthropologie 19: 15–46, Masson, Paris, France. ISSN: 0003-5521.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave paintings.

FHCCA, Biblio.

Cartailhac, E. and Breuil, H., 1910. “Les Peintures et Gravures Murales des Cavernes Pyreneennes. IV. Gargas, Aventignan (Hautes-Pyrenees)” in L’Anthropologie XXI: 129–50, Masson, Paris, France. ISSN: 0003-5521.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art.

FHCCA, Internet, Biblio.

Cartailhac, Emile, Fernández Ibáñez, Carmelo (trad.), and Márquez, María José (trad.), 1985. “Las Cavernas Decoradas con Dibujos: La Caverna de Altamira, España. “Mea Culpa” de un Escéptico” in Sautuola 4: 375–80, Instituto de Prehistoria y Arqueología Sautuola, ISSN: 1133-2166.

Cueva de Altamira, Santander, Spain. Europe. Paleolithic art. History of research.

Dialnet.

Carty, Alistair, 2007. “3D Laser Scanning at Church Hole, Creswell Crags” in Palaeolithic Cave Art at Creswell Crags in European Context, Paul Pettitt, Paul Bahn and Sergio Ripoll, eds., 46–52, Oxford University Press, Oxford, England. ISBN: 978-0-19-929917-1.

Church Hole, Creswell Crags, England, Britain, British Isles. Europe. Paleolithic cave art. Documentation. Recording. 3D Laser Scanning.

LMRAA.

Casabó, Josep, Boronat, Juan de Dios, Marco, Yolanda Carrión et al., 2017. “New Evidence of Palaeolithic Rock Art at the Cova del Comte (Pedreguer, Spain): Results of the First Surveys” in Quaternary International 432(Part B): 25–40, International Union for Quaternary Research, ISSN: 1040-6182.

http://www.sciencedirect.com/science/article/pii/S104061821501455X (accessed on 2 May 2017).

Cova del Comte, Pedreguer, Spain. Europe. Paleolithic art in archaeological context. Gravettien. Solutrean.

Abstract: “In the Mediterranean watershed of the Iberian Peninsula, Palaeolithic rock art remains a rare phenomenon. Thanks to the discovery of the Cova del Comte, where the art is accompanied by an archaeological deposit, we are able to study it within a defined chronological context. The stylistic features of some of the figures correspond to ancient pre-Magdalenian art, which places it within the Gravettian and early Solutrean period; this information is consistent with the results of the excavation.”

Science Direct.

Casado López, María del Pilar, 1977. Los Signos en el Arte Paleolítico de la Península Ibérica Monografías Arqueológicas, vol. 20: 327 pgs, Universidad de Zaragoza, Departamento de Prehistoria y Arqueología de la Facultad de Filosofía y Letras, Zaragoza, Spain. ISBN: 8460008096, 9788460008095.

Iberian Peninsula, Spain. Europe. Paleolithic cave paintings. Bibliography: pp. 299–319.

LoC, PAPPM, Internet, Biblio.

Casado López, María del Pilar, 1979. “Consideraciones sobre la Distribución Geográfica de Algunos Elementos del Arte Paleolítico” in Caesaraugusta: Publicaciones del Seminario de Arqueologia y Numismatica Aragonesas, vol. 49–50: 89–100, Institución Fernando el Católico, ISSN: 0007-9502.

Europe. Paleolithic art. Geographic distribution.

Dialnet.

Casado López, María del Pilar, 1985. “Los Grabados de la Cueva de “El Forcón” “ in Bolskan 1: 183–92, Instituto de Estudios Altoaragoneses, Huesca, Spain. ISSN: 0214-4999.

http://dialnet.unirioja.es/servlet/articulo?codigo=124953 (accessed on 14 December 2011).

Cueva de “El Forcón”, Spain. Europe. Paleolithic art. Linear motif(s). Finger fluting.

Dialnet.

Casado, P., 1973. “Tipología de los “Signos” en el Arte Parietal Paleolítico de la Penísula Ibérica” in Crónica del XII Congreso Arqueológico Nacional, 1971. Jaén, 65–72, Universidad de Zaragoza, Seminario de Arqueología.

Iberian Peninsula, Spain. Europe. Paleolithic art. Sign motif(s). Typology.

Dialnet.

Castanedo Tapia, Ignacio and García, José León, 2010. “La Investigacion del Arte Rupestre en Cantabira” in Las Cuevas con Arte Paleolitico en Cantabria, Belen Malpelo Garcia and Ignacio Castanedo Tapia, coords., 46–53, Asociacion Cantabra para la Defensa del Patrimonio Subterraneo (A.C.D.P.S.), Santander, Spain. ISBN: 84-607-5177-5.

Cantabria, Spain. Europe. Paleolithic art.

Academia.edu.

Castaño Lladró, Ana, 1986. “Aspectos Ecológicos del Arte Parietal Paleolítico en Cantabria” in Estudio de Arte Paleolítico, 7–66, Ministerio de Cultura, Dirección General de Bellas Artes, Archivos y Bibliotecas, ISBN: 84-505-5052-1.

Cantabria, Spain. Europe. Paleolithic art.

Dialnet.

Castelli, Andrea, 2010. “Ibex Images from the Magdalenian Culture” in PaleoAnthropology, 123–157, Paleoanthropology Society, ISSN: 1545-0031.

http://www.paleoanthro.org/static/journal/content/PA20100123.pdf (accessed on 11 June 2016).

Europe. Paleolithic art. Magdalenian. Chamois, Pyrenean ibex, Alpine ibex, and saiga antelope motif(s).

Abstract: “This work deals with a set of images created during the Magdalenian period of Western Europe, part of what is known as Upper Paleolithic or prehistoric “art.” The set includes 95 images depicting four species: chamois, Pyrenean ibex, Alpine ibex, and saiga antelope. A selection of previously published image descriptions are collected here, and revised and extended with reference to current naturalistic knowledge. In 48 of the images studied, the image-makers selectively depicted seasonal characters and behaviors, as first remarked by Alexander Marshack for images of all subjects, but 41 ibex and saiga antelope images reveal a focus on selected horn features—winter rings and growth rings—which are unique to these two subjects and first remarked here. These are not seasonal characters but are still closely related to the passage of time and may have been used as a visual device to keep track of solar years, elapsed or to come. Revealing similar concerns by the image-makers, and the same creative way of using images from the natural world surrounding them, this new theory can be seen as complementary to the seasonal meaning theory, of which a brief historical account is included here. The careful study of selected images and image associations also led to the finding, in line with recent paleobiogeographical data, that the Pyrenean ibex was the most frequently—if not the only—ibex species depicted by the image-makers, as a rule in its winter coat. Sixty-four carefully selected photographs, tracings, and drawings, of which seventeen are previously unpublished, illustrate the images discussed in the text.”

RASNWV, Internet.

Casteret, N., 1930. “Les Mains Fantomes de Gargas” in Revue de Comminges 44: 110–16, Société des Etudes du Comminges, ISSN: 0035-1059.

Gargas, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Hand motif(s).

Biblio.

Casteret, N., 1933. “Une Nouvelle Grotte a Gravures dans les Pyrenees. La Grotte d’Alquerdi” in XV Congres International d’Anthropologie et d’Archeologie Prehistoriques, Paris, 20–27 September 1931, 384–389.

Grotte d’Alquerdi (Alkerdi), Navarra, Spain. Europe.

Biblio.

Castillon, Raymond, 1998. “Quelques Nouveautes a la Grotte du Portel” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique Ariège-Pyrénées LIII: 65–98, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Portel, Loubens, Ariege, France. Europe. Paleolithic art. Bison, mammoth, owl, anthropomorph, ibex, horse, negative hand print, deer motif(s).

Internet.

Castillon, Raymond, 1998. “Anciennes Decouvertes de Gravures Parietales dans la Grotte d’El Pendo (Camargo, Cantabria, Espagne)” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique Ariège-Pyrénées LIII: 271–274, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Grotte d’El Pendo, Camargo, Cantabria, Spain. Europe. Paleolithic art.

Internet.

Castillon, Raymond, 2004. “Quelques Figures a la Grotte Paleolithiques du Portel (Loubens, Ariege)” in Bulletin Préhistoire du Sud-Ouest, vol. 11(1), Association Prehistoire du Sud-Ouest, Carcassonne, France. ISSN: 1268-7944.

Grotte du Portel, Loubens, Ariege. Europe. Paleolithic art.

Abstract: “The cave of Le Portel (Loubens, Ariège) is known for its Palaeolithic art since 1908. Some recent observations make it possible to suggest the presence of figures not recognized until there. Two human figurations, one of face, the other of profile, were carried out from rock reliefs. Certain layouts could evoke a Rhinoceros, species rare in the Pyrenean Palaeolithic art. A Horse, traced in black with a neck except standards, was also identified. It would point out another figure which was very discussed.”

Internet.

Celebonovic, Stevan and Sauter, Marc-R., 1958. Am Ursprung der Kunst. Gerat und Kunst der Spaten Altsteinzeit, Verlag M. DuMont Schauberg, Koln, Germany.

France. Spain. Europe. Paleolithic cave art. Mobiliary (portable) art.

LMRAA.

Chakravarty, Kalyan K., 2003 (November). “Cognitive Challanges to Taphonomy” in Rock Art Research 20: 107–9, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

United States. North America. South America. Asia. India. Siberia. China. Japan. Mideast. Australia. Africa. Europe. World. Pleistocene (Paleolithic) art. Paleoart. Mobiliary (portable) art. Art origins. Comment on Robert G. Bednarik, 2004, RAR, 20(2): 89–135.

LMRAA.

Chalmin, Emile, Menu, Michel and Vignaud, Colette, 2003. “Analysis of Rock Art Painting and Technology of Palaeolithic Painters” in Measurement Science and Technology 14: 1590–97.

Lascaux and Elkin Caves, France. Europe. Paleolithic art. Pigment analysis.

Abstract: “Archaeologists have attempted the interpretation of rock art, but have often disregarded the technical aspects of paints. Analyzing paint samples for preparation techniques and studying the various compounds used, facilitates the determination of the technology of early painters. Paleolithic artists used two main colors: red (iron oxide: natural hematite or heated goethite) and black (charcoal or manganese oxides). These pigments could be prepared in different ways (grinding, mixing with extender and/or binder, or heating) to enhance the properties of the paints. Analyses attempt to determine the physicochemical nature of the matter and its preparation mode and to get an idea of its geographic origin. This report presents techniques and methods used in the laboratory at the Centre de recherche et de restauration des musées de France (C2RMF) for manganese oxide pigments. Distinction between manganese oxides with or without other cations is made, and heat treatment of manganese oxide minerals is described. Results obtained for black pigment in Lascaux and Ekain caves are presented and discussed. From paint analyses, several conclusions are drawn concerning the technical level of Paleolithic artists.” Abstractor: Cecily Grzywacz AATA Nos.:2004-80124 and 38-2732.

Biblio, AATA, Refdoc.fr.

Chalmin, E. et al., 2004. “Les Blasons de Lascaux” in L’Anthropologie 108: 571–92, Masson, Paris, France. ISSN: 0003-5521.

Lascaux, Dordogne, France. Europe. Paleolithic cave art. Sign (blazon) motif(s).

RASNW3.

Chamarty and Truffier, 1941. “La Grotte du Gabillou” in Bulletin de la Societe Historique et Archeologique du Perigord, 107–113, Perigueux, France. ISSN: 1141-135X.

GABILLOU, PERIGORD, FRANCE. EUROPE. PALEOLITHIC CAVE ART. 22 FIGURES.

FHCCA.

Chambellan, D. et al., 2005. “Rouffignac—Saint—Cernin—de—Reilhac. Grotte de Rouffignac” in Service Regional de l’Archeologie, Bilan Sceintifique 2004, Aquitaine, 53–54.

Rouffignac, Saint-Cernin-de-Reilhac, France. Europe. Paleolithic cave art.

RASNW3.

Chamberlain, Andrew T., 2007. “Cave Archaeology and Palaeontology in the Creswell Region” in Palaeolithic Cave Art at Creswell Crags in European Context, Paul Pettitt, Paul Bahn and Sergio Ripoll, eds., 61–70, Oxford University Press, Oxford, England. ISBN: 978-0-19-929917-1.

Creswell Crags, England, Britain, British Isles. Europe. Paleolithic cave art. Cave archaeology. Paleontology.

LMRAA.

Chandramouli, N., 1996 (December). “Comments on: Daraki-Chattan: A Palaeolithic Cupule Site in India” in Purakala, Giriraj Kumar, ed., vol. 7(1–2): 35, Rock Art Society of India, Dayalbagh, Agra, India.

Daraki-Chattan, Chambal Valley, India. See G. Kumar, “Daraki-Chattan: A Palaeolithic Cupule Site in India”, Purkala, 1990, 6(1–2): 17–28. Cupules. Paleolithic.

Biblio, LMRAA.

Chandramouli, N., 1997 (November). “Minor Reservations” in Rock Art Research 14(2): 143, Australian Rock Art Research Association, Melbourne, Australia. ISSN 0813-0426.

DARAKI-CHATTAN, CHAMBAL VALLEY, INDIA. AUTHOR COMMENTS ON “DARAKI-CHATTAN: A PALAEOLITHIC CUPULE SITE IN INDIA”, GIRIRAJ KUMAR, 1996, ROCK ART RESEARCH, 13(1):38-46. Paleolithic.

LMRAA, RAISB.

Chapa Brunet, Teresa, 2000 (December). “Nuevas Tendencias en el Estudio del Arte Prehistorico” in ArqueoWeb: Revista sobre Arqueología en Internet, vol. 2(3): 30 pgs, ISSN: 1139-9201.

http://pendientedemigracion.ucm.es/info/arqueoweb/pdf/2-3/chapa.pdf (accessed on 21 April 214).

Europe. Paleolithic art. Rock art studies.

Internet.

Charet, J., 1947. “Reflexions sur la Magie de Chasse” in Bulletin de la Société Préhistorique Française, vol. 44(5): 170–174, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1947_num_44_5_2161 (accessed on 28 February 2016).

Europe. Paleolithic art. Hunting magic.

ARP, Persee, Biblio.

Charet, Jean, 1948. “Réflexions sur la Magie de la Chasse. II. Les Bisons d’Argile du Tuc d’Audoubert “ in Bulletin de la Société Préhistorique Française 45(6–8): 268–271, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1948_num_45_6_2373 (accessed on 16 October 2011).

Tuc d’Audoubert, France. Europe. Paleolithic art. Clay bison motif(s). Rock feature: Sculpture. Hunting magic.

ARP, Persee.

Charpillon, J., 1989. “La Reglementation” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 211–218, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

France. Europe. Prehistoric art. Paleolithic art. Cultural resource management. Conservation and preservation. Legislation. With discussion by J. Vouve, J. Comber, F. Guichard and M.R. Seronie-Vivien.

LMRAA.

Chauvet, Gustave, 1918. Grottes du Chaffaud: l’Art Primitif, Vol. X:175 pgs, Musee des Grandes Ecoles, Poitiers, France.

Chaffaud Cave, France. Europe. Paleolithic art.

ARP.

Chauvet, Jean-Marie, Deschamps, Eliette Brunel and Hillaire, Christian, 1996. Dawn of Art: The Chauvet Cave, 135 pgs, Harry N. Abrams, Inc., New York, New York.

CHAUVET CAVE, ARDECHE, FRANCE. EUROPE. THE AUTHORS RECOUNT THEIR REMARKABLE DISCOVERY OF THE CAVE INCLUDES DESCRIPTIONS OF THE PALEOLITHIC PAINTINGS WITH BEAUTIFUL PHOTOGRAPHS. Foreword by PAUL G. BAHN IS CONCERNED WITH FAKERY, AUTHENTICITY AND DIRECT DATING AT THE CAVE. Epilog by JEAN CLOTTESIS CONCERNED WITH AUTHENTICITY, THE SIGNIFICANCE OF THE SITE, THEMES AND DATING.

LMRAA.

Chesney, Shirley, 1994. “Max Raphael (1889–1952): A Pioneer of the Semiotic Approach to Palaeolithic Art” in Semiotica 100(2/4): 109–124, De Gruyter, ISSN: 0037-1998.

Europe. World. Semiotics. Max Raphael. Paleolithic art.

Biblio.

Cheyne, J.A., Meschino, L. and Smiler, D., 2009. “Caricature and Contrast in the Upper Paleolithic: Morphometric Evidence from Cave Art” in Perception 38(1): 100–108.

Europe. Paleolithic art. Caricature. Contrast. Morphometric evidence.

Abstract: “The earliest known explicit and unambiguous employment of representation in external media is in the form of figurative depictions of large mammals during the Upper Palaeolithic. These images, though often created with evident technical skill and intimate knowledge of the subject matter, are frequently characterised by curious and pronounced distortions. We provide evidence, based on quantitative analysis of parietal graphic images of two commonly depicted species, for the hypothesis that certain of these distortions are neither errors nor idiosyncratic variations, but systematic deviations from veridicality in the form of caricatures consistent with cognitive principles of graded typicality and contrast in categorisation. Our analysis provides evidence that the first apparent conventions of representational art by humans were informed by basic cognitive-perceptual principles of categorisation.”

Biblio, Internet.

Chiotti, Laurent, Beck, Lucile, Crepin, Laurent, Lebon, Matthieu, Man-Estier, Elena, Paillet, Patrick, Vercoutere, Carole and Nespoulet, Roland, 2016. “Statut des Scapulas Ornees du Gravettien Final de l’Abri Pataud (Les Eyzies-de-Tayac, Dordogne): Contexte Archaeologique, Analyses Techniques et Physico-Chimiques/Status of Decorated Scapulae from the Abri Pataud Final Gravettian (Les Eyzies-de-Tayac, Dordogne, France): Archaeological Context, Technical and Physico-Chemical Analyses” in Paléo, Revue Préhistorique, Numero Especial, 99–120, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

Les Eyzies-de-Tayac, Dordogne, France. Europe. Mobiliary (portable) art. Scapulae. Paleolithic art. Archaeological context. physical and chemical analyses.

Internet.

Chiotti, L., Delluc, B. and Delluc, G., 2007. “Art et Parure Aurignaciens de l’Abri Patuad (Les Eyzies-de-Tayac, Dordogne, France)” in Les Chemins de l’Art Aurignacien en Europe, 16–18 Septembre 2005. Das Aurignacien und die Anfange der Kunst in Europa. Colloque International - Internationale Fachtagung Aurignac 2005, 171–178, Éditions Musée – Forum Aurignac, 4, Aurignac, France. ISBN: 9782952744423 2952744424.

Abri Patuad, Les Eyzies-de-Tayac, Dordogne, France. Europe. Paleolithic art. Aurignacian.

Biblio.

Chirica, V., 2003. “L’Art Mobilier du Paleolithique Superieur en Europe de l’Est et Centrale” in Hommages a Jean Gausse Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 58: 99–117, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

East and Central Europe. Paleolithic art. Mobiliary (portable) art.

RASNW3.

Chirica, Codrin-Valentin, 2004. “Manifestations Artistiques et Religieuses dans le Paleolithique Superieur de ‘Europe Centrale et de l’Est” in Section 8: Art du Paleolithique Superieur et du Mesolithique. Upper Palaeolithic and Mesolithic Art. C8.1 Art Rupestre, Metaphysique, Ideologie, Iconographie et Mythe du Paleolithique a l’Epoque Actuelle. C8.4 Bilan des Arts Rupestre en Europe. Actes du XVI eme Congres, UISPP, Universite de Liege, Belgique, 2–6 Septembre 2001 British Archaeological Reports (BAR) International Series, (1311): 186–197, Archaeopress, Publishers of British Archaeological Reports, Oxford, England. ISBN: 1-84171-660-X.

Central Europe. Upper Paleolithic. Statuettes. Artifacts.

LMRAA.

Chiron, Leopold, 1889. “Notes sur les Dessins de la Grotte de Chabot” in Revue de la Societe Anthroplogique de Lyon, 96–97, Societe Anthroplogique de Lyon.

Chabot Cave, France. Europe. Paleolithic art.

ARP.

Chollet, Andre and Airvaux, Jean, 1990. “Styles et Chronologie de l’Art Mobilier Paleolithique dans la Region Rhodanienne” in L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21 November 1987, Jean Clottes, dir., 83–86, Ministere de la Culture, Foix, France. ISBN: 2-11-085550-9.

Rhone River Valley, France. Europe. Paleolithic art. Mobiliary (portable) art. Chronology. Style. Gravettian. Solutrean. Azilian. Magdalenian.

LMRAA.

Chollot-Varagnac, Marthe, 1980. Les Origines du Graphisme Symbolique. Essai d’Analyse des Ecritures Primitives en Prehistoire, 476 pgs, Editions Fondation Singer-Polignac, Paris, France. ISBN: 2-900-93705-6.

Musee de Antiquites Nacionales, St. Germain-en-Laye, France. Europe. Paleolithic art. Mobiliary (portable) art. Geometric sign motif(s). Catalog of the E. Piette collection of paleolithic mobiliary art. Figure-stone, figure-rock (manuport).

UVAP, LMRAA.

Chollot-Varagnac, Marthe, 1990. “L’Art Non Naturaliste, Schematisation ou Decor” in L’Art des Objets au Paléolithique, vol. 2, Les Voies de la Recherche, Actes du Colloque de Foix-Le Mas d’Azil, 16–21 November 1987, Jean Clottes, dir., 195–202, Ministère de la Culture, Paris, France. ISBN: 2-11-085550-9.

Europe. Paleolithic art. Mobiliary (portable) art. Non-naturalistic. Schematic or decorative? Geometric motif(s).

LMRAA.

Chopin, Cyrille and Hameau, Philippe, 1996. “Activités Symboliques sur les Sites Ornés du Sud de la France: La Part de l’Industrie Lithique” in Bulletin de la Société Préhistorique Française, vol. 93(1): 84–96, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1996_num_93_1_10102# (accessed on 5 October 2011).

Southern France. Europe. Paleolithic art. Rock art and lithics.

Abstract: “Burial places and decorated sites of the Chalcolithíc period are dosely connected by the nature of their contents and for spiritual reasons. A systematic inventory of the stone artefacts in each type of site shows that they have a part in common. Study of stone artefacts from five decorated sites demonstrates that most of them are waste material of flint knapping, executed on the spot by inexperienced workers. These sites, however are not assimilated to workshops, but to sacred places, where apprentices asserted their new social position by accomplishing a ritual conceived as a symbolic death. The origin of these practices is prior to the Chalcolithic and goes back at least to a Chassey tradition.”

Persee.

Citerne, Pierre, 1998. “Le Theme du Poisson dans l’Art Paleolithique des Pyrenees” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique Ariège-Pyrénées LIII: 17–64, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Pyrenees, France. Europe. Paleolithic art. Fish motif(s). Mobiliary (portable) art. Parietal art.

Internet.

Citerne, Pierre, 2004. “Presence de l’Esturgeon dans le Bestiaire Figure Paleolithique: Conditions et Limites de l’Analyse Morphologique Revue Editee par la” in Societe Prehistorique Ariege—Pyrenees, vol. 59: 71–92, Societe Prehistorique Ariege—Pyrenees, Tarascon, France.

Europe. Sturgeon (fish) motif(s). Paleolithic art. Mobiliary (portable) art.

LMRAA (photo copy).

Citerne, Pierre, 2004. “Les Représentations Paléolithiques de Salmonidés: Mise en Lumière de Phénomènes Culturels par l’Analyse Statistique des Caractères Formels” in L’Art du Paléolithique Supérieur. Actes des Colloques 8.2 et 8.3, XIVe Congrès de l’UISPP, Liège (2–8 September 2001), M. Lejeune and A.-C. Welte, eds. Etudes et Recherches Archeologigues de l’Universite de Liege, ERAUL 107, Éditions Eraul, Universite de Liege, Liege, Belgium.

Europe. Paleolithic art. Salmonid motif(s).

Internet

Citerne, Pierre and Chanet, Bruno, 2005–2006. “Les Représentations de Poissons Plats [Teleostei: Pleuronectiformes] dans l’Art Paléolithique Européen” in Homenaje a Jesus Altuna Munibe 57(3): 65–77, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217; ISSN: (Internet): 2172-4555.

https://www.academia.edu/28640382/Les_repr%C3%A9sentations_de_poissons_plats_Teleostei_Pleuronectiformes_dans_l_art_pal%C3%A9olithique_europ%C3%A9en (accessed on 4 December 2017).

Europe. Flat fish Motif(s). Paleolithic art. Chronology. Paleoenvironment.

Abstract: “An ichthyologist specialized in flatfishes and an archaeologist specialized in prehistoric art undertake the morphological analysis and specific diagnosis of the few representations of pleuronectiformes existing in European Palaeolithic art. By situating this small thematic corpus in its iconographic, chronocultural and palaeoenvironmental frame, the results of this interdisciplinary approach contribute to the objectivation of archaeological data for which cultural context is largely wanting.”

Internet, Academia.edu.

Clegg, John, 2010–2011. “Life Drawing and the Chauvet Lions” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 76–77, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Chauvet, Ardeche, France. Europe. Paleolithic art. Lion motif(s).

Dialnet

Clegg, J., 2012. “Life Drawings and the Chauvet Lions” in L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI, Book: 76–77, CD: 459–464, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Chauvet, Ardeche, France. Europe. Paleolithic art. Lion (feline) motif(s).

Biblio, LMRAA.

Cleyet-Merle, Jean-Jacques, 1987. “Les Figurations de Poissons dans l’Art Paléolithique” in Études et Travaux/Hommage de la SPF à André Leroi-Gourhan Bulletin de la Société Préhistorique Française, vol. 84(10–12): 394–402, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1987_hos_84_10_9852 (accessed on 9 October 2011).

Spain. France. Europe. Paleolithic art. Fish motif(s).

Persee.

Cleyet-Merle, Jean Jacques, 1990. “Deux Arguments Décisifs: Les Combarelles et Font-de-Gaume” in Une Histoire de la Préhistoire en Aquitaine Paléo, Revue d’Archéologie Préhistorique, vol. 1(H-S): 40–43, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1990_hos_1_1_1417 (accessed on 13 November 2011).

Les Combarelles and Font-de-Gaum, Perigord, France. Europe. Paleolithic art. History of research.

Persee.

Cleyet-Merle, Jean Jacques, 1990. “Naissance d’une Polémique en Périgord: La Grotte de La Mouthe” in Une Histoire de la Préhistoire en Aquitaine Paléo, Revue d’Archéologie Préhistorique, vol. 1(H-S): 36–39, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1990_hos_1_1_1416 (accessed on 13 November 2011).

La Mouthe, Perigord, France. Europe. Paleolithic art. History of research.

Persee.

Cleyet-Merle, Jean-Jacques, ed., 2011. Mille et Une Femmes de la Fin des Temps Glaciares, 140 pgs, Musee National de Prehistoire/Reunion des Musees Nationaux, Les Eyzies/Paris, France.

France. Europe. Female motif(s). Museum exhibition cataglog. Mobiliary (portable) art. Paleolithic art. Magdalenian.

Abstract: “Cet ouvrage accompagne l’exposition Mille et une femmes de la fin des temps glaciaires présentée au Musée national de Préhistoire - Les Eyzies-de-Tayac jusqu’au 19 Sept. 2011. Le nuage de figurations féminines schématiques, qui recouvre l’Europe à la fin des temps glaciaires aux alentours de 12500 BP, traduit une puissante symbolique polymorphe et de solides contacts entre les populations, des rivages atlantiques à la Pologne.”

RASNWV.

Cleyet-Merle, Jean-Jacques, 2012. “Les Eyzies-de-Tayac. Les Combarelles III, Reseau Inferieur” in Bilan Scientifique, 2010, 44–47, Service Regional d’Archeologie Aquitane.

Les Eyzies-de-Tayac. Les Combarelles III, France. Europe. Paleolithic art.

RASNWV.

Cleyet-Merle, J.-J. and Levy, G., 2007 (November 7). “Nouvelle Decouverte: Un Autre Bestiaire a Combarelles” in Eponyme, Bulletin des Amis du Musee National de Prehistoire, vol. 12.

Combarelles, Dordogne, France. Europe. Paleolithic art. Magdalenian.

RASNW4.

Cleyet-Merle, Jean Jacques, Douau, Francoise and Mohen, Jean-Pierre, 1990. “A Propos de la Conservation des Objets d’Art Mobilier Prehistoriques” in L’Art des Objets au Paléolithique, vol. 2, Les Voies de la Recherche, Actes du Colloque de Foix-Le Mas d’Azil, 16–21, November 1987, Jean Clottes, dir., 267–273, Ministère de la Culture, Paris, France. ISBN: 2-11-085550-9.

Musee des Antiquities Nationales, France. Europe. Paleolithic art. Mobiliary (portable) art. Cultural resource management. Conservation and preservation.

LMRAA.

Cleyet-Merle, Jean-Jacques and Madelaine, Stéphane, 1995. “A propos d’une Représentation d’Echassier de Laugerie-Basse (Les Eyzies de Tayac, Dordogne)” in Paléo, Revue d’Archéologie Préhistorique, vol. 7: 255–258, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1995_num_7_1_1218# (accessed on 18 November 2011).

Laugerie-Basse, Les Eyzies de Tayac, Dordogne, France. Europe. Paleolithic art. Mobiliary (portable) art. Crane (bird) motif(s). Engraved bone.

Abstract: “We present one of the few figurations of paleolithic crane, engraved on a perforated stick of reindeer antler, from the upper Magdalenian of Laugene Basse.”

Persee.

Cleyet-Merle, Jean-Jacques, Madalaine, Stephane and Jugie, Philippe, 1994. “A propos d’un Bison Gravé sur Bloc de l’Abri Reverdit à Sergeac (Dordogne)” in Paléo, Revue d’Archéologie Préhistorique 6: 309–12, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1994_num_6_1_1093 (accessed on 18 November 2011).

Abri Reverdit à Sergeac, Dordogne, France. Europe. Paleolithic art. Bison motif(s). Magdalenian.

Persee.

Clot, André, 1973. L’Art Graphique Prehistorique des Hautes-Pyrenees. Essai de Synthèse, et Catalogue à l’Occasion d’une Exposition, 161 pgs, Editions P.G.P. [Promotion, Gestion, Publicite].

Haute Pyrenees, France. Europe. Paleolithic art.

UVAP.

Clot, Andre, 1974. “El Arte Gráfico Prehistórico en los Altos Pirineos” in Munibe 26: 57–62, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/1974057062.pdf (accessed on 26 November 2011).

High Pyrenees, Spain. Europe. Paleolithic art.

Internet.

Clot, Andre, 1984. “Grotte du Bois de Cantet” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 523–526, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte du Bois de Cantet, Midi-Pyrenees, Haute-Pyrenees, Espeche, France. Europe. Paleolithic cave art. Horse, deer (cervid), abstract lines motif(s).

Biblio, LMRAA.

Clot, Andre, 1984. “Grotte de Tibiran” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 536–539, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Tibiran, Midi-Pyrenees, Haute-Pyrenees, Tibiran-Jaunac, France. Europe. Paleolithic cave art. Negative hand print, horse, bear, ibex motif(s).

Biblio, LMRAA.

Clot, A. and Cantet, M., 1974. “La Grotte Orne du Bois de Cantet a Espeche (Hautes-Pyrenees)” in Gallia Préhistoire 17: 69–100, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

Bois de Cantet, Espeche, Hautes-Pyrenees, France. Europe. Paleolithic art.

UVAP.

Clot, A., Menu, M. and Walter, P., 1995. “Manieres de Peindre des Mains a Gargas et Tibiran (Hautes - Pyrenees)” in L’Anthropologie 99: 221–35, Masson, Paris, France. ISSN: 0003-5521.

Gargas, Tibiran, Commune d’ Aventignan, Hautes-Pyrenees, France. Europe. Paleolithic art. Hand motif(s).

RASNW2, Biblio.

Clottes, J., 1973. “La Grotte des Eglises (Ussat, Ariege)” in Prehistoire et Protohistoire des Pyrenees Francaises, 45–50, Musee Pyreneen, Chateau-Fort de Lourdes, Lourdes, France.

Grotte des Eglises, Ussat, Ariege, France. Europe. Paleolithic art.

UVAP.

Clottes, J., 1973–1974. “Quelques Observations sur la Conservation des Grottes Ornees, a propos de Deux Galeries Magdaleniennes” in Recemment Decouvertes en Ariege Caesaraugusta 37–38: 9–18, Departamento de Prehistoria y Arqueologia, Universidad de Zaragoza; Ministerio de Educacion y Ciencia, Zaragoza, Spain. ISBN: BRE-19-12

Ariege, France. Europe. Paleolithic art. Magdalenian. Cultural resource management. Conservation and preservation.

UVAP.

Clottes, J., 1974. “A propos d’un Ouvrage Recent sur la Caverne de Niaux” in Bulletin de la Société Préhistorique Française 71: 137–39, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1974_num_71_2_8294 (accessed on 13 October 2011).

Niaux, Ariege, Haute Pyrenees, Europe. Paleolithic art.

Biblio.

Clottes, Jean, 1980. “Elements Sur l’Art Rupestre Paleolithique en France” in Prehistorie Ariegeoise 35: 79–110, Societe Prehistorique de l’Ariege, Toulouse, France.

France. Europe. Paleolithic art. Bibliography.

LMRAA, ICOMOS, Biblio.

Clottes, Jean, 1981. “Circonscription de Midi Pyrenees” in Gallia Préhistoire 24: 525–70, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1981_num_24_2_1685 (accessed on 25 October 2011).

Mid Pyrenees, France. Europe. Paleolithic cave art. Archaeological field work.

ICOMOS, Persee.

Clottes, Jean, 1983. “Circonscription de Midi Pyrenees” in Gallia Préhistoire 26: 465–510, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1983_num_26_2_1729 (accessed on 25 October 2011).

Niaux, Ariege, Mid Pyrenees, France. Europe. Paleolithic cave art. Archaeological field work.

ICOMOS, Persee.

Clottes, Jean, 1983. “Caverne des Eglises a Ussat (Ariege). Fouilles 1964-1977” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège, vol. 38: 23–81, Societe Prehistorique de l’Ariege, Toulouse, France.

Eglises, Ussat, Ariege, France. Europe. Paleolithic art.

UVAP.

Clottes, Jean, 1984. “Introduction Regionale: Midi-Pyrenees” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 358–368, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Midi-Pyrenees, France. Europe. Paleolithic cave art.

UVAP, LMRAA.

Clottes, Jean, 1984. “Grotte de Niaux” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 416–423, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic cave art. Animal, salmon, bison, ibex motif(s).

UVAP, LMRAA.

Clottes, Jean, 1985. “Circonscription de Midi Pyrenees” in Gallia Préhistoire 28: 331–71, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1985_num_28_2_2235 (accessed on 25 October 2011).

Niaux, Ariege, Peche Merle, Cabrerets, Lot, Villeneuve Tolosane, Haute Garonne, France. Europe. Paleolithic cave art. Archaeological field work. Rock features: Dolmens. Menhirs.

ICOMOS, Persee.

Clottes, Jean, 1985. “Conservation des Traces et des Empreintes” in Traces et Messages de la Prehistoire. L’Etude des Empreintes Les Dossiers Histoire et Archeologie, (90): 40–49, Editions Faton, Dijon, France. ISSN: 1141-7137.

France, Europe. Paleolithic art. Cultural resource management. Conservation and preservation. Conservation of human and animal footprints in caves.

LMRAA.

Clottes, Jean, 1986. “La Determination des Figurations Humains et Animales dans l’Art Paleolithique Europeen” in Cultural Attitudes to Animals, Including Birds, Fish and Invertebrates, The World Archaeological Congress (Southhampton and London, 1–7 September 1986) World Archaeological Congress, Vol. 3:1-29, Allen & Unwin.

Europe. Paleolithic art. Human, animal motif(s).

Biblio.

Clottes, Jean, 1986–1987. “La Determinación de las Representaciones Humanas y de Animales en el Arte Rupestre Paleolítico” in I Congreso Internacional de Arte Rupestre, Caspe, Zaragoza, 1986-1987 Bajo Aragón, Prehistoria, vol. 7–8: 41–68, Grupo Cultural Caspolino, ISSN: 0210-6132.

Europe. Paleolithic art. Human, animal motif(s).

Dialnet, Internet, LMRAA, Biblio.

Clottes, Jean, 1988–1989. “Niaux: Magdalenien Moyen ou Recent” in ARS Praehistorica 1988–1989, 7–8: 53–67, Editorial Ausa, Sabadell, Spain.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art. Magdalenian. Dating.

ICOMOS, Biblio.

Clottes, Jean, 1989. “L’Art Parietal du Magdalenien Recent” in Colóquio Internacional de Arte Pré-Histórica nos 25 Anos da Descoberta da Gruta do Escoural, Montemor-o-Novo, 1988 Almansor, Revista de Cultura, (7): 37–94.

Pyrenees. France. Europe. Paleolithic art. Magdalenian.

UVAP.

Clottes, Jean, 1989. “L’Art Mobilier et Pariétal des Pyrénées” in Le Temps de la Prehistoire, J.P. Mohen, ed. Editions Archeologia, vol. 2: 168–71, Societe Prehistorique Francaise, ISBN: 2878440005.

Pyrennes, France. Europe. Paleolithic art. Mobiliary (portable) art.

IIA.

Clottes, J., 1989. “Les Decouvertes et la Conservation” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 35–39, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

France. Spain. Europe. Prehistoric art. Paleolithic art. Cultural resource management. Conservation and preservation.

LMRAA.

Clottes, J., 1989. “Recherche et Conservation: Problemes de Deontologie” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 219–222, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

France. Europe. Prehistoric art. Paleolithic art. Cultural resource management. Conservation and preservation. With discussion by M. Archambeau, G. Delluc, F. Guichard and J.-L. Roudil.

LMRAA, Biblio.

Clottes, J., 1989. “L’Art Parietal Magdalenien Recent” in Colóquio Internacional de Arte Pré-Histórica nos 25 Anos da Descoberta da Gruta do Escoural, Montemor-o-Novo, 1988 Revista Almansor, Vol. 7: 37–94, Montemor-o-Novo.

Europe. Paleolithic art. Magdalenian.

Biblio.

Clottes, J., 1989. “The Identification of Human and Animal Figures in European Palaeolithic Art” in Animals into Art, H. Morphy, ed. One World Archaeology, vol. 7: 21–56, Unwin Hyman, Ltd., London, England.

Europe. Conventional stylistic representation in Paleolithic art. The process of identification of human and animal motif(s).

LMRAA, Biblio.

Clottes, J., 1990. “The Parietal Art of the Late Magdalenian” in Antiquity 64: 527–48, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

Europe. Paleolithic art. Magdalenian.

Biblio.

Clottes, Jean, dir., 1990. L’Art des Objets au Paleolithique, 1. L’Art Mobilier et son Contexte, Actes du Colloque de Foix-Le Mas d’Azil, 16–21, November 1987, 295 pgs, Ministere de la Culture, Foix, France. ISBN: 2-11-085550-9.

France. Spain, Italy, Russia. Europe. Paleolithic art. Mobiliary (portable) art. Collection of papers.

LMRAA.

Clottes, Jean, 1991. Les Caverne de Niaux, 26 pgs, Editions du Castelet, Boulogne.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art.

ICOMOS.

Clottes, Jean, 1992. “L’Archeologie des Grottes Ornees” in La Recherche 23: 52–61, Sophia Publications, Paris, France.

France. Europe. Paleolithic cave art. Recording methodology. Archaeology.

ICOMOS.

Clottes, J., 1993. “Analyses des Peintures Magdaleniennes de Grottes Ornees Arigeoises” in Actes du 12e Congres International des Sciences Prehistoriques et Protohistoriques (Bratislava, 1–7 Septembre 1991), (4): 347–357.

Ariege, France. Europe. Paleolithic art. Magdalenian.

UVAP.

Clottes, Jean, 1993. “Contexte Archéologique Externe” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 27–35, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Archaeological context.

Biblio, LMRAA.

Clottes, Jean, 1993. “Le Contexte Archéologique Interne” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 49–58, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Archaeological context.

Biblio, LMRAA.

Clottes, Jean, 1993. “Ichnologie” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 59–66, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Ichnology. Study of ancient traces left by plants and animals. For example, hand prints, foot prints, tracks.

Biblio, LMRAA.

Clottes, Jean, 1993. “Les Animaux Indéterminés” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 193–196, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Indeterminate animal (zoomorph, fauna) motif(s).

Biblio, LMRAA.

Clottes, Jean, 1993. “Les Créatures Composites Anthropomorphes” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 197–199, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Animal—anthropomorph composite (theriantrophe) motif(s).

Biblio, LMRAA.

Clottes, Jean, 1993. “La Conservation des Sites” in L’Art Parietal Paleolithique. Techniques et Methodes d’Etude, 389–400, Editions du CTHS, Paris, France. ISBN: 2-7355-0286-4.

Europe. Paleolithic cave art. Cultural resource management. Conservation and preservation.

Biblio, LMRAA.

Clottes, Jean, 1994. “Who Painted What in Upper Paleolithic European Caves” in New Light on Old Art. Recent Advances in Hunter-Gatherer Rock Art UCLA Institute of Archaeology Monograph, (36): 1–8, UCLA Institute of Archaeology, Los Angeles, California.

Spain. France. Western Europe. MULTIPLE PIGMENT ANALYSES and RADIOCARBON DATING ARE BEING USED TO ESTABLISH CULTURAL SEQUENCES IN PALEOLITHIC CAVE ART. LIMITATIONS OF VARIOUS APPROACHES TO ESTABLISHING CHRONOLOGY ARE DISCUSSED.

LMRAA.

Clottes, Jean, 1994. “L’Art Parietal Paléolithique en France: Dernieres Decouvertes” in Ejemplar Dedicado a: Arte Paleolítico Complutum, vol. 5: 221–234, Universidad Complutense, Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164328 (accessed on 1 December 2011).

France. Europe. Paleolithic art. Chronology. Pigment analysis.

Abstract: “El panorama del AR en Francia se ha transformado considerablemente en los últimos diez años. El progreso de las técnicas de análisis, la multiplicación de los descubrimientos y nuevos trabajos en cuevas ya conocidas han aportado gran cantidad de información. En este artículo se presentan los datos publicados más recientes sobre estos temas.”

Dialnet, Refdoc.fr.

Clottes, Jean, 1994. “Dates Directes pour les Peintures Paleolithiques” in Bulletin de la Société Préhistorique Ariège-Pyrénées 91: 51–70, Société Préhistorique Ariège-Pyrénées, Tarascon, France.

France. Europe. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating. Paleolithic art.

MWRBRAD.

Clottes, J., 1994. “A Propos de la Grotte Cosquer” in Bulletin de la Société des Études du Lot 115(4), Société des Études du Lot.

Cosquer Cave, France. Europe. Paleolithic art.

Internet.

Clottes, J., 1995. “Paleolithic Petroglyphs at Foz Coa, Portugal” in International Newsletter on Rock Art, (10): 2, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora10/inora-10.pdf (accessed on 22 April 2017).

COA VALLEY, PORTUGAL. EUROPE. AUTHOR ASSIGNS THESE PETROGLYPHS TO THE UPPER PALEOLITHIC, PROBABLY SOLUTREAN, FROM STYLISTIC CRITERIA.

LMRAA (PHOTO COPY), EPA.

Clottes, J., 1995. “Perspectives and Traditions in Palaeolithic Rock Art Research in Europe in France” in Perceiving Rock Art: Social and Political Perspectives, K. Helskog and B. Olsen, eds. Proceedings of the Alta Conference on Rock Art, 1993, 35–64, The Institute for Comparative Research in Human Culture, Oslo, Norway. .

France. Europe. Paleolithic cave art.

Biblio.

Clottes, Jean, 1995. “The Chauvet Cave at Combe d’Arc in the Ardeche, France” in International Newsletter on Rock Art, (10): 1, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora10/inora-10.pdf (accessed on 22 April 2017).

CHAUVET CAVE, COMBE d’ARC, ARDECHE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. ANNOUNCEMENT OF THE SITE’S DISCOVERY IN DECEMBER OF 1994.

LMRAA (PHOTO COPY).

Clottes, Jean, 1995. “Changements Thematiques dans l’Art Paleolithique Superieur” in Bulletin de la Société Préhistorique de l’Ariège 50: 3–34, Société Préhistorique de l’Ariège, ISSN: 0245-9523.

France. Europe. Paleolithic art. Aurignacien. Gravettien. Themes.

UVAP.

Clottes, J., 1996. “Thematic Changes in Upper Palaeolithic Art: View from the Grotte Chauvet” in Antiquity 70: 276–88, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

CHAUVET CAVE, FRANCE. EUROPE. PALEOLITHIC CAVE ART.

BIBLIO, LMRAA (ABSTRACT).

Clottes, Jean, 1996. “Epilogue: Chauvet Cave Today” in Dawn of Art: The Chauvet Cave, 89–127, Harry N. Abrams, Inc., New York, New York.

CHAUVET CAVE, ARDECHE, FRANCE. EUROPE. PALEOLITHIC CAVE PAINTINGS. AUTHENTICITY, THE SIGNIFICANCE OF THE SITE, THEMES AND RADIOCARBON DATING (+/- 30,000 YEARS BP).

LMRAA (2 COPIES).

Clottes, Jean, 1996. “Un Groupe Culturel Homogene” in L’Art Prehistorique des Pyrenees, Catalogue d’Exposition, Paris, MAN—Reunion des Musees Nationaux, 1996, M.-H. Thiault and J.-B. Roy, dir., 36–59, ISBN: 978-2-7118-3375-7.

Pyrenees, France. Europe. Paleolithic art.

UVAP.

Clottes, Jean, 1997. “New Laboratory Techniques and Their Impact on Paleolithic Cave Art” in Beyond Art. Pleistocene Image and Symbol Memoirs of the California Academy of Sciences, (23): 37–52, California Academy of Sciences, San Francisco, California.

Niaux, Ariege, Haute Pyrenees, France. Europe. RESEARCH METHODOLOGY: ARCHAEOMETRY. PALEOLITHIC IMAGERY. DIRECT DATING OF PAINTINGS. PIGMENT ANALYSIS.

LMRAA.

Clottes, Jean, 1997. “Art of the Light and Art of the Depths” in Beyond Art. Pleistocene Image and Symbol Memoirs of the California Academy of Sciences, (23): 203–216, California Academy of Sciences, San Francisco, California.

France. Europe. UPPER PALEOLITHIC ART FOUND IN CAVE ENTRANCES, EXPOSED TO THE LIGHT, AND IN SHALLOW ROCK SHELTERS COMPARED TO THE ART FOUND DEEP IN THE DARK ZONE. OPEN AIR SITES. BAS RELIEF. SCULPTURE. ENGRAVING. ROCK FEATURE INCORPORATION. SETTING: HABITATION VS. CEREMONIAL SITES. SANCTUARIES.

LMRAA.

Clottes, Jean, 1997. “Observations Nouvelles sur les Peintures de la Grotte Chauvet” in Bulletin de la Societe Prehistorique de l’Ariege 52: 17–32, Societe Prehistorique de l’Ariege, Tarascon-sur-Ariege, France.

Grotte Chauvet, Ardeche, France. Europe. Paleolithic cave art.

UVAP.

Clottes, Jean, 1999. “Twenty Thousand Years of Palaeolithic Cave Art in Southern France” in World Prehistory: Studies in Memory of Grahame Clark, John Coles, Robert Bewley & Paul Mellars, eds. Proceedings of the British Academy, Vol. 99: 161–175, Oxford University Press, Oxford, England. ISBN: 0197261965.

Southern France. Europe. Paleolithic cave art. Direct dating. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating.

Biblio, MWRBRAD.

Clottes, Jean, 1999. “Las Cuevas Decoradas en Francia” in BARA: Boletín de Arte Rupestre de Aragón, 2: 15–29, Diputación General de Aragón: Departamento de Cultura y Turismo, Centro de Arte Rupestre “Antonio Beltrán,” Zaragoza, Spain. ISSN: 1139-9260.

France. Europe. Paleolithic art.

LMRAA.

Clottes, Jean, 2001. “Paleolithic Europe” in Handbook of Rock Art Research, David S. Whitley, ed., 459–481, Alta Mira Press, Walnut Creek, Lanham, New York, Oxford.

Europe. Overview of Paleolithic rock art. Dating. Interpretation.

LMRAA.

Clottes, Jean, 2001. La Grotte Chauvet. L’Art des Origines, 226 pgs, Editions du Seuil, Paris, France. ISBN-10: 2020486482 ISBN-13: 978-2020486484.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave painting.

Abstract: “La découverte de la grotte Chauvet en 1995 a été un événement considérable : l’ancienneté des peintures, vieilles de 35 000 ans, et leur exceptionnelle qualité ont suscité la surprise et l’admiration. Les images des rhinocéros, des mammouths, des lions des cavernes, des bisons, des chevaux ont fait le tour du monde. Une équipe de spécialistes de toutes disciplines a entrepris depuis quelques années, sous la direction de Jean Clottes, une étudeapprofondie de la grotte. Cette collaboration s’est révélée particulièrement fructueuse et la caverne a livré bien des secrets sur son origine, sur les datations, les traces laissées par les animaux et les hommes, les techniques utilisées, les thèmes des peintures et des gravures, sans oublier le regard porté sur cet art exceptionnel par l’historien d’art ou l’ethnologue. Le résultat de ces recherches et de ces découvertes est exposé ici, simplement, pour faire partager au public non seulement la connaissance, mais aussi l’émotion qui ne peut manquer de naître devant cet univers vieux de tant de millénaires. Les auteurs : Maurice Arnold, Norbert Aujoulat.”

Biblio, LMRAA

Clottes, Jean, 2001. “Paleolithic Art in France” in Adoranten 2001, 5–19, Scandinavian Society for Prehistoric Art, Underslös, Sweden. ISSN: 0349-8808.

France. Europe. Paleolithic art. Regional overview.

LMRAA.

Clottes, Jean, 2001. “Le Theme Mythique du Faon a l’Oiseau dans le Magdalenien Pyreneen” in Bulletin de la Societe Prehistorique de l’Ariege 56: 53–62, Societe Prehistorique de l’Ariege, Tarascon-sur-Ariege, France.

Pyrenees, France. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art. Fawn (deer), bird motif(s).

UVAP.

Clottes, Jean, 2001 (August). “Las Cuevas Paleoliticas de Francia” in Rupestre 3: 30–37, Grupo de Investigacion de Arte Rupestre Indigena, Bogota, Colombia.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave art. This article originally appeared in the magazine “Investigacion y Ciencia”, September 1995, reprinted by permission of author.

LMRAA.

Clottes, Jean, 2001 (August). “France’s Magical Ice Age Art. Chauvet Cave” in National Geographic 200: 104–21, National Geographic Society, Washington D.C.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave art.

LMRAA.

Clottes, Jean, 2002. “La Préhistoire de l’Art” in Pour la Science (300): 38–41, ISSN: 0153-4092.

France. Europe. Paleolithic art.

Refdoc.fr.

Clottes, Jean, 2003. “Les Gravures Pariétales Paléolithiques” in Actes del I Congrés Internacional de Gravats Rupestres i Murals: Homenatge a Lluís Díez-Coronel: (Lleida, 23–27 de Novembre de 1992), Joan Ramon González Pérez, coord., 131–146, Institut d’Estudis Ilerdencs, Lleida, Spain. ISBN: 84-89943-68-0.

Europe. Paleolithic art.

Dialnet.

Clottes, Jean, 2003. “De l’Art pour l’Art” au Chamanisme: L’Interpretation de l’Art Prehistorique” in La Revue pour l’Histoire du CNRS, Vol. 8: 44–53.

Grotte Chauvet, Ardeche, France. Europe. Paleolithic art. Magdalenian. Art for art’s sake. Shamanism.

UVAP.

Clottes, Jean, 2003. “Un Probleme de Parente: Gabillou et Lascaux” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 58: 47–61, Societe Prehistorique de l’Ariege, Tarascon-sur-Ariege, France.

Gabillou and Lascaux, Dordogne, France. Europe. Paleolithic cave art.

UVAP.

Clottes, Jean, 2003. “El Arte Parietal Paleolítico” in Redescubrir Altamira, José Antonio Lasheras Corruchaga, coord., 93–118, Turner Publicaciones, Madrid, Spain. ISBN: 84-7506-586-4.

Europe. Paleolithic art.

Dialnet.

Clottes, J., 2004. “Le Chamanisme Paleolithique: Fondements of ‘Une Hypothese” in La Spiritualité. Actes du Colloque de la Commission 8 de l’UISPP (Paléolithique Supérieur). Liège 10–12 Décembre 2003, dirigido por M. Otte Etudes et Recherches Archeologiques de l’Universite de Liege, ERAUL 106, 195-202, Éditions Eraul, Universite de Liege, Liege, Belgium.

Europe. Shamanism. Paleolithic art.

Biblio.

Clottes, Jean, 2004. “De Nouveau á Niaux” in Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège 59: 109–16, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic art.

RASNW3, DialNet, Biblio.

Clottes, Jean, 2005. “Forward” to Aesthetics and Rock Art, Thomas Heyd and John Clegg, eds., xix–xxviii, Ashgate Publishing Ltd, Aldershot, Hampshire, England. ISBN: 0-7546-3924-X.

Europe. Aesthetics. Paleolithic art.

LMRAA.

Clottes, Jean, 2005. “Spiritualite et Religion au Paleolithique: Les Signes d’une Emergence Progressive” in Religions et Histoire 2: 18–25, ISSN: 1772-7200.

Europe. Paleolithic. Spirituality. Religion.

Biblio.

Clottes, Jean, 2006. “Un Siecle d’Art Parietal en France” in Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed. Monumental: Revue Scientifique et Technique des Monuments Historiques, 6–13, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France. ISSN: 1168-4534.

France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

Internet.

Clottes, Jean, 2006. “Niaux (Ariege). Cent Ans d’Hypotheses” in Midi-Pyrenees Patrimoine 7: 45–49.

Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. History of research.

UVAP.

Clottes, Jean, 2007. “Un Geste Paleolithique dans les Grottes Ornees: Os et Silex Plantes” in Arts et Cultures de la Prehistoire: Hommages a Henri Delporte, sous la Direction de R. Desbrosse and A. Thevenin, 41–54, Comite des Travaux Historiques et Scientifiques (Editions du CTHS), Paris, France.

France. Europe. Paleolithic art. Ritual placement of bone and flint in dark zones of caves.

RASNW4, Biblio.

Clottes, Jean, 2007. “An Exceptional Painted Cave in the Ardeche (France): Chauvet Cave” in African Rock Art: The Future of Africa’s Past. Proceedings of the 2004 International Rock Art Conference, Nairobi, J. Deacon, ed., 6–7, Trust for African Rock Art, Nairobi, Namibia. ISBN: 9966-7055-4-6.

http://africanrockart.org/wp-content/uploads/2013/10/The%20Future%20of%20Africa’s%20Past.pdf (accessed on 1 September 2017).

Chauvet Cave, Ardeche, France. Europe Paleolithic art.

Internet.

Clottes, Jean, 2007. “Du Chamanisme a l’Aurignacien?” in Les Chemins de l’Art Aurignacien en Europe. Das Aurignacien und die Anfange der Kunst in Europa, Colloque International, Internationale Fachtagung, Aurignac, 6–18 September 2005, H. Floss and N. Rouquerol, eds., 435–451, Editions Musee-Forum d’Aurignac, Aurignac, France.

Europe. Shamanism. Aurignacian. Paleolithic art.

Biblio.

Clottes, Jean, 2007 (Novembe–December). “Les Grottes Ornées en France” in Grottes Ornées en France, Jean Clottes, ed. Les Dossiers de Archéologie, (324): 2–3, Editions Faton, Dijon, France. ISSN: 1141-7137.

Marsoulas, Montespan, Bédeilhac, Labastide, Ebbou, la Chaire-à-Calvin, le Roc-aux-Sorciers, Mayenne-Sciences, Roucadour, la Grande Grotte d’Arcy-sur-Cure, le Tuc d’Audoubert, er, Chauvet, Cussac, Pestillac, Freyssinet, Margot, Vilhonneur, Foissac, France, Europe. Paleolithic art.

Abstract: “Les études se sont multipliées. Elles ont porté, et portent encore dans certains cas, sur des grottes et abris plus ou moins anciennement signalés (Marsoulas, Montespan, Bédeilhac, Labastide, Ebbou, la Chaire-à-Calvin, le Roc-aux-Sorciers, Mayenne-Sciences, Roucadour, la Grande Grotte d’Arcy-sur-Cure, le Tuc d’Audoubert) ou sur des sites ornés plus récemment découverts (Cosquer, Chauvet, Cussac, Pestillac, Freyssinet, Margot, Vilhonneur, Foissac).”

internet.

Clottes, Jean, 2007–2008. “El Chamanismo Paleolítico: Fundamentos de una Hipótesis” in Homenaje a Ignacio Barandiarán Maestu, Javier Fernández Eraso, Juan Santos Yanguas; Ignacio Barandiarán Maestu (hom.), coords. Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas, vol. 24–25(1): 269–284, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

Europe. Paleolithic art. Shamanism.

Dialnet.

Clottes, Jean, 2008. Cave Art, 326 pgs, Phaidon Press Limited, London, England. ISBN: 978 0 7148 4592 0.

Chauvet, Lascaux, Niaux, France. Europe. Paleolithic cave art. Aurignacian. Gravettian. Solutrean. Magdalenian.

LMRAA.

Clottes, Jean, 2008. “Le Professeur Don Antonio Beltrán et l’Art Préhistorique” in Antonio Beltrán (1916–2006): Vir Bonus, Magister Optimus Caesaraugusta: Publicaciones del Seminario de Arqueologia y Numismatica Aragonesas, vol. 79: 35–48, Institución Fernando el Católico, ISSN: 0007-9502.

http://ifc.dpz.es/recursos/publicaciones/27/30/_ebook.pdf (accessed on 25 January 2012).

Spain. France. Europe. Antonio Beltrán Martínez. Biography. Bibliography. Rock art studies. Paleolithic art.

Dialnet.

Clottes, Jean, 2008. “L’Art Parietal Paleolithique des Pyrenees” in Pyrenees d’Heir et d’Aujourd’hui, Actes du Colloque de Pau, 20–21 Septembre 2008, Canérot J., Colin J.P., Platel J.P., Bilotte M., dirs., 191–205, Atlantica Editeur, Biarritz, France.

Pyrenees, France. Paleolithic art.

UVAP, Internet.

Clottes, Jean, 2008. L’Art des Cavernes Prehistoriques, 326 pgs, Phaidon Press Limited, Paris, France. ISBN: 978 0 7148 4592 0.

Chauvet, Lascaux, Niaux, France. Europe. Paleolithic cave art. Aurignacian. Gravettian. Solutrean. Magdalenian.

LMRAA, Biblio.

Clottes, Jean, 2009. “Sticking Bones into Cracks in the Upper Palaeolithic” in Becoming Human: Innovation in Prehistoric Material and Spiritual Culture, C. Renfrew and J. Morley, eds., 195–211, Cambridge University Press, Cambridge, England. ISBN-10 0521734665, ISBN-13 978-0-521-73466-0.

Europe. Upper Paleolithic art. Placing bones into cracks. “Piercing the veil”.

LMRAA, Biblio.

Clottes, Jean, 2010. Les Aurignaciens, M. Otte, dir., 237–251, Editions Errance, Paris, France.

Europe. Myth. Aurignacien. Paleolithic art.

Biblio.

Clottes, Jean, 2011. Pourquoi l’Art Prehistorique? Folio Essais, (557): 334 pgs, Editions Gallimard, Malesherbes, France. ISBN: 978-2-07-044470-0.

Europe. Paleolithic art. Research methodology.

Abstract: “Les hommes des Temps glaciaires ont pénétré dans les grottes profondes pour y dessiner et s’y livrer à de mystérieuses cérémonies, dont parois et sols portent parfois les traces. Ils ont aussi orné les parois de certains abris de leurs gravures, peintures et sculptures représentant le plus souvent des animaux. Tenter d’approcher les raisons qui les guidèrent peut paraître une gageure. Nombre de spécialistes esquivent la question du «Pourquoi?», lui préférant le «Quoi?» (description et étude des thèmes représentés, que l’on veut aussi complètes et «objectives» que possible), le «Quand?» (problèmes de datation et de chronologie) et le «Comment» (étude minutieuse des techniques utilisées). Jean Clottes s’est attaqué à cette question. Il l’a fait en se fondant sur ce que nous apprennent, partout dans le monde, les groupes humains qui ont une relation à la Nature beaucoup plus proche que la nôtre. De toutes les hypothèses visant à mieux comprendre l’art des cavernes, que Jean Clottes recense dans cet ouvrage pour le grand public, celle qui lui paraît la plus féconde, car elle explique le plus de faits établis, est que les pratiques artistiques se seraient développées dans le cadre d’une religion de type chamanique.”

Biblio, Internet.

Clottes, Jean, 2012. “Ritual Cave Use in European Paleolithic Caves” in Sacred Darkness: A Global Perspective on the Ritual Use of Caves, Holly Moyes, ed., 15–26, University Press of Colorado, Boulder, Colorado. eISBN: 978-1-60732-178-1.

Europe. Paleolithic art.

Abstract: “This chapter examines evidence for ritual Paleolithic cave use in Europe. It begins with a case for limited ritual use of a deep cave by Neanderthals prior to the Upper Paleolithic and the arrival of modern humans in the area. Numerous examples of caves used for rock art by modern humans date from about 38,000 to 11,000 BP, and extend from the southern tip of the Iberian Peninsula to the Urals in Russia. Burials are rare at that time in painted or engraved caves (Cussac in the Dordogne, Vilhonneur in the Charente). On the other hand, many activities took place.”

JSTOR.

Clottes, Jean, ed., 2012. L’Art Pleistocene dans le Monde/Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010 Bulletin de la Societe Prehistorique Ariege-Pyrenees, vol. LXV–LXVI:Book: 334 pgs, CD: 1958 pgs, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523; ISBN: 987-2-9531148-3-6.

World. Pleistocene (paleolithic) art.

Biblio, LMRAA.

Clottes, Jean, 2013 (June). “Art et Spiritualite: Origines et Frontieres” in Points de Vue Initialiques: Revue de la Grande Loge de France, (168): 69–73.

Europe. Paleolithic art. Spirituality. Origins.

Biblio.

Clottes, Jean, 2015. “1.1 La Conservation des Sites” in Une Vie d’Art Prehistorique L’Homme des Origines, 19–33, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. L’Art Parietal Paleolithique. Techniques et Methodes d’Etude Cultural resource management. Conservation and preservation.(Reprint from L’Art Parietal Paleolithique. Techniques et Methodes d’Etude (GRAPP), Editions du CTHS, 1993, 389–400).

Biblio, LMRAA.

Clottes, Jean, 2015. “1.2 Contexte Archeologique Interne” in Une Vie d’Art Prehistorique L’Homme des Origines, 34–44, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Archeological context. (Reprint from L’Art Parietal Paleolithique. Techniques et Methodes d’Etude (GRAPP), Editions du CTHS, 1993, 49–58).

Biblio, LMRAA.

Clottes, Jean, 2015. “1.3 Contexte Archeologique Externe” in Une Vie d’Art Prehistorique L’Homme des Origines, 45–56, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Archeological context. (Reprint from L’Art Parietal Paleolithique. Techniques et Methodes d’Etude (GRAPP), Editions du CTHS, 1993, 27-35).

Biblio, LMRAA.

Clottes, Jean, 2015. “1.5 Dates Directes pour les Peintures Paleolithiques” in Une Vie d’Art Prehistorique L’Homme des Origines, 68–80, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating. (Reprint from Bulletin de la Société Préhistorique Ariège-Pyrénées, 1994, 91:51-70, Société Préhistorique Ariège-Pyrénées).

Biblio, LMRAA.

Clottes, Jean, 2015. “1.14 Analyses des Peintures Magdaleniennes de Grottes Ariegeoises” in Une Vie d’Art Prehistorique L’Homme des Origines, 135–145, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Montespan, France. Europe. Paleolithic art. (Reprint from XIIe Congres International des Sciences Prehistoriques et Protohistoriques, 1993, Bratislava, 1–7 Septembre 1991, Juraj Pavuk, ed., 4: 347–357).

LMRAA.

Clottes, Jean, 2015. “1.12 Datations U-Th, Evolution de l’Art et Neanderthal” in Une Vie d’Art Prehistorique L’Homme des Origines, 117–120, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Neanderthal. U-Th direct dating. (Reprint from International Newsletter on Rock Art, 2012, 64, 1–6).

LMRAA.

Clottes, Jean, 2015. “1.17 La Determination des Figurations Humains et Animales dans l’Art Paleolithique Europeen” in Une Vie d’Art Prehistorique L’Homme des Origines, 174–202, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Ariege, France. Europe. Paleolithic art. Magdalenian. Human, animal motif(s). (Reprint from Cultural Attitudes to Animals, Including Birds, Fish and Invertebrates, The World Archaeological Congress (Southhampton and London, 1–7 September 1986) World Archaeological Congress, 3: 1–29).

LMRAA.

Clottes, Jean, 2015. “3.1 Introduction Regionale: Midi-Pyrenees” in Une Vie d’Art Prehistorique L’Homme des Origines, 473–484, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Midi-Pyrenees, France. Europe. Paleolithic art. Regional introduction. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 358–368, Ministere de la Culture: Imprimerie Nationale, Paris, France).

LMRAA.

Clottes, Jean, 2015. “3.2 L’Art Parietal Paleolithique des Pyrenees” in Une Vie d’Art Prehistorique L’Homme des Origines, 485–497, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Midi-Pyrenees, France. Europe. Paleolithic art. Regional introduction. (Reprint from Pyrenees d’Heir et d’Aujourd’hui, Actes du Colloque de Pau, 20–21 Septembre 2008, Canérot J., Colin J.P., Platel J.P., Bilotte M., dirs., Atlantica Editeur, Biarritz, France).

LMRAA.

Clottes, Jean, 2015. “3.3 L’Art Parietal du Magdalenien Recent” in Une Vie d’Art Prehistorique L’Homme des Origines, 498–533, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Midi-Pyrenees, France. Europe. Paleolithic art. Magdalenian. (Reprint from Coloquio Internacional de Arte Prehistorica, 1988, Montemor-o-Novo (Portugal), 1989, Almansor, Revista de Cultura, 7, 37–94).

LMRAA.

Clottes, Jean, 2015. “3.6 Grotte de Niaux” in Une Vie d’Art Prehistorique L’Homme des Origines, 551–559, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 416-423, Ministere de la Culture: Imprimerie Nationale, Paris, France).

LMRAA.

Clottes, Jean, 2015. “3.7 Niaux (Ariege). Cent Ans d’Hypotheses” in Une Vie d’Art Prehistorique L’Homme des Origines, 560–564, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. History of research. (Reprint from Midi-Pyrenees Patrimoine, 2006, 7, 45–49).

LMRAA.

Clottes, Jean, 2015. “3.16 L’Originalite de la Grotte Chauvet-Pont-d’Arc, a Vallon-Pont-d’Arc (Ardeche)” in Une Vie d’Art Prehistorique L’Homme des Origines, 704–708, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet-Pont-d’Arc, Vallon-Pont-d’Arc, Ardeche, France. Europe. Paleolithic art. (Reprint from Comptes-Rendus des Seances l’Academie des Inscriptions et Belles-Lettres, 1995, 139(2): 563–568).

LMRAA.

Clottes, Jean, 2015. “3.17 Observations Nouvelles sur les Peintures de la Grotte Chauvet” in Une Vie d’Art Prehistorique L’Homme des Origines, 709–719, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet-Pont-d’Arc, Vallon-Pont-d’Arc, Ardeche, France. Europe. Paleolithic art. (Reprint from Bulletin de la Societe Prehistorique de l’Ariege, 1997, 52, 17–32).

LMRAA.

Clottes, Jean, 2015. “4.1 De l’Art pour l’Art” au Chamanisme: L’Interpretation de l’Art Prehistorique” in Une Vie d’Art Prehistorique L’Homme des Origines, 765–777, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet, Ardeche, France. Europe. Paleolithic art. Magdalenian. Art for art’s sake. Shamanism. (Reprint from La Revue pour l’Histoire du CNRS, 2003, 8, 44–53).

LMRAA.

Clottes, Jean, 2015. “4.2 Un Siecle d’Art Parietal en France” in Une Vie d’Art Prehistorique L’Homme des Origines, 778–784, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. (Reprint from Dossier Les Grottes Ornees Semestriel 2, F. Goven, ed., Monumental: Revue Scientifique et Technique des Monuments Historiques, 2006, 6–13, Ministère de la Culture, Direction du Patrimoine, Centre des Monuments Nationeaux (CNRS), Paris, France).

LMRAA.

Clottes, Jean, 2015. “4.3 La Naissance du Sens Artistique” in Une Vie d’Art Prehistorique L’Homme des Origines, 785–790, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Chronology. Art history. Rock art studies. Origins of art. (Reprint from Revue de Sciences Morales et Politiques, 1993, 173–84, Gauthier Villars, Paris, France).

LMRAA.

Clottes, Jean, 2015. “4.5 Un Probleme de Parente: Gabillou et Lascaux” in Une Vie d’Art Prehistorique L’Homme des Origines, 811–826, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Gabillou and Lascaux, Dordogne, France. Europe. Paleolithic art. (Reprint from Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, 2003, 58, 47–61).

LMRAA.

Clottes, Jean, 2015. “4.8 Un Groupe Culturel Homogene” in Une Vie d’Art Prehistorique L’Homme des Origines, 848–869, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. (Reprint from L’Art Prehistorique des Pyrenees, Paris, MAN - Reunion des Musees Nationaux, 1996, 36–59).

LMRAA.

Clottes, Jean, 2015. “4.22 Un Geste Paleolithique dans les Grottes Ornees: Os et Silex Plantes” in Une Vie d’Art Prehistorique L’Homme des Origines, 1009–1023, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Archaeological context. Ritual placement of bone and flint in dark zones of caves. (Reprint from Arts et Cultures de la Prehistoire: Hommages a Henri Delporte, sous la Direction de R. Desbrosse and A. Thevenin, 2007, 41–54, Comite des Travaux Historiques et Scientifiques (Editions du CTHS) Paris, France).

LMRAA.

Clottes, Jean, 2015. “4.23 Ficher des Os des Fissures au Paleolithique Superieur” in Une Vie d’Art Prehistorique L’Homme des Origines, 1024–1031, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Archaeological context. Upper Paleolithic art. Placing bones into cracks. “Piercing the veil”. (Reprint from Becoming Human: Innovation in Prehistoric Material and Spiritual Culture, 2009, 195–211, Cambridge University Press, Cambridge, England).

LMRAA.

Clottes, Jean, 2015. “4.25 Le Chamanisme Paleolithique: Fondements of ‘Une Hypothese” in Une Vie d’Art Prehistorique L’Homme des Origines, 1044–1053, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Europe. Paleolithic art. Shamanism. (Reprint from La Spiritualité. Actes du Colloque de la Commission 8 de l’UISPP (Paléolithique Supérieur). Liège 10–12 Décembre 2003, dirigido por M. Otte, 2004, Etudes et Recherches Archéologiques de l’Université de Liège, 106, Éditions Eraul).

LMRAA.

Clottes, Jean, 2015. “4.26 Du Chamanisme a l’Aurignacien?” in Une Vie d’Art Prehistorique L’Homme des Origines, 1054–1061, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Europe. Paleolithic art. Shamanism. Aurignacien. (Reprint from Les Chemins de l’Art Aurignacien en Europe. Das Aurignacien und die Anfange der Kunst in Europa, Colloque International, Internationale Fachtagung, Aurignac, 6–18 September 2005, H. Floss and N. Rouquerol, eds., 2007, 435–451, Editions Musee-Forum d’Aurignac, Aurignac, France).

LMRAA.

Clottes, Jean, 2015. “4.27 Narration et Chamanisme Paleolithique” in Une Vie d’Art Prehistorique L’Homme des Origines, 1062–1064, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Europe. Paleolithic art. Shamanism. Aurignacian. (Reprint from Les Dossiers d’Archéologie, 2013, 358, 34–37, Dijon, France).

LMRAA.

Clottes, Jean, 2015. “4.29 Spiritualite et Religion au Paleolithique: Les Signes d’une Emergence Progressive” in Une Vie d’Art Prehistorique L’Homme des Origines, 1072–1082, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet, Lascaux, France. Europe. Paleolithic. Religion. Spirituality. (Reprint from Religions et Histoire, 2005, 2, 18–25).

LMRAA.

Clottes, Jean, 2015. “4.31 Les Mythes” in Une Vie d’Art Prehistorique L’Homme des Origines, 1089–1098, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic. art. Aurignacian. Myth. (Reprint from Les Aurignacians, M. Otte, dir., 2010, 237-252, Editons Errance, Paris, France).

LMRAA.

Clottes, Jean, 2015. “4.32 Art et Spiritualite: Origines et Frontieres” in Une Vie d’Art Prehistorique L’Homme des Origines, 1099–1104, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic. art. Spirituality. Origins. (Reprint from Points de Vue Initialiques: Revue de la Grande Loge de France, 2013, 168, 69–73).

LMRAA.

Clottes, Jean, 2015. “4.33 Ritual Cave Use in European Paleolithic Caves” in Une Vie d’Art Prehistorique L’Homme des Origines, 1105–1119, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Europe. Paleolithic. art. Ritual uses. Dark zone. (Reprint from Sacred Darkness: A Global Perspective on the Ritual Use of Caves, Holly Moyes, ed., 2012, 15–26, University Press of Colorado, Boulder, Colorado).

LMRAA.

Clottes, Jean, 2015. La Grotte du Pont d’Arc dite Grotte Chauvet—Sanctuaire Préhistorique, 96 pgs, Actes Sud, ISBN: 978-2-330-03577-8.

Grotte Chauvet, Pont d’Arc, Ardeche, France. Europe. Paleolithic art.

Abstract: “Début 1995, l’annonce de la découverte de la grotte du Pont d’Arc, dite grotte Chauvet, est un événement mondial : son ancienneté, la qualité et le nombre de ses représentations, la variété des espèces figurées en font immédiatement l’un des chefs-d’œuvre de l’art pariétal. À l’occasion de la confirmation du classement de la grotte au patrimoine mondial de l’humanité par l’Unesco et de l’ouverture de la caverne, réplique de cette dernière, en juin 2015, Jean Clottes nous raconte l’aventure de cette découverte majeure, celle de la plus ancienne grotte ornée d’Europe.”

Internet.

Clottes, Jean, 2015. “The Genesis of Human Creativity and Art” in The Genesis of Creativity and the Origins of the Human Mind, Barbora Puta and Soukup Vaclav, eds., 117–119, Charles University in Prague, Karolinum Press, Czech Republic. ISBN: 978-80-246-2677-2.

Europe. Paleolithic art. Origins of art.

LMRAA.

Clottes, J., 2015. “3.23 Two Petroglyphs of Proboscideans at Upper Sand Island, Bluff, Utah (USA)” in Une Vie d’Art Prehistorique L’Homme des Origines, 760–762, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Sand Island, San Juan River, Utah. Four Corners. United States. North America. Paleolithic art. Proboscidean (mammoth) motif(s). Ekkehart Molatki. (Reprint from International Newsletter on Rock Art, 2013, 67, 7-10).

LMRAA.

Clottes, Jean, 2016. “Chauvet-Pont D’Arc Cave: Choosing a Location” in International Newsletter on Rock Art (75): 23–25, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Chauvet Cave, Pont d’Arc, Ardeche, France. Europe. Paleolithic art. Setting. Location. Rock feature incorporation. Association with intermittent spring.

LMRAA.

Clottes, Jean, 2016. What Is Paleolithic Art? Cave Paintings and the Dawn of Human Creativity, 214 pgs, University of Chicago Press, ISBN-10: 022626663X ISBN-13: 978-0226266633.

Europe. World. Paleolithic art. Origins of art. Shamanism. Creativity.

Abstract: “Was it a trick of the light that drew our Stone Age ancestors into caves to paint in charcoal and red hematite, to watch the heads of lions, likenesses of bison, horses, and aurochs in the reliefs of the walls, as they flickered by firelight? Or was it something deeper a creative impulse, a spiritual dawn, a shamanistic conception of the world efflorescing in the dark, dank spaces beneath the surface of the earth where the spirits were literally at hand? In this book, Jean Clottes, one of the most renowned figures in the study of cave paintings, pursues an answer to this why of Paleolithic art. While other books focus on particular sites and surveys, Clottes s work is a contemplative journey across the world, a personal reflection on how we have viewed these paintings in the past, what we learn from looking at them across geographies, and what these paintings may have meant what function they may have served for their artists. Steeped in Clottes s shamanistic theories of cave painting, “What Is Paleolithic Art?” travels from well-known Ice Age sites like Chauvet, Altamira, and Lascaux to visits with contemporary aboriginal artists, evoking a continuum between the cave paintings of our prehistoric past and the living rock art of today. Clottes s work lifts us from the darkness of our Paleolithic origins to reveal, by firelight, how we think, why we create, why we believe, and who we are.”

Internet, LMRAA.

Clottes, Jean, 2017. “European Palaeolithic Rock art and Spatial Structures” in The Oxford Handbook of the Archaeology and Anthropology of Rock Art, Bruno David and Ian J. McNiven, eds., 16 pgs, Oxford Handbooks Online.

http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780190607357.001.0001/oxfordhb-9780190607357-e-6?rskey=YP0Twh&result=9 (accessed on 15 March 2017).

Europe. Paleolithic art. Spatial models. Landscape.

Abstract: “This chapter examines the question of spatiality/spatial structure in rock art by focusing on European Upper Palaeolithic art, commonly known as cave art. More specifically, it considers the existence of structural principles, both physical and mental, important in understanding the artists’ ways of thinking. After discussing the role of the landscape in rock art, the chapter explains how Palaeolithic peoples of Europe dealt with a wide range of spatial choices and possibilities: for example, when a site was chosen as appropriate for artworks, or whether people developed one or more spatial models that they would apply or adapt to their chosen sites. It provides evidence showing that Upper Palaeolithic peoples held beliefs and customs that were reflected in the nature and structure of the paintings, engravings, and carvings that they created in hopes of establishing contact with the spirit world and deriving benefits from such connections.”

Internet.

Clottes, Jean, Alteirac, Andre and Servelle, Christian, 1981. “Oeuvres d’Art Mobilier Magdaleniennes des Anciennes Collections du Mas d’Azil” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège 36: 37–76, Societe Prehistorique de l’Ariege, Toulouse, France.

Maz d’Azil, France. Europe. Paleolithic art. Mobiliary (portable) art.

AL@RLG, LMRAA, Biblio.

Clottes, Jean, Alteirac, Andre and Servelle, Christian, 2015. “2.5 Oeuvres d’Art Mobilier Magdaleniennes des Anciennes Collections du Mas d’Azil” in Une Vie d’Art Prehistorique L’Homme des Origines, 245–260, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Mas d’Azil, France. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone. (Reprint from Préhistoire Ariégeoise: Bulletin de la Société Préhistorique de l’Ariège, 1981, 36, 37–76).

LMRAA.

Clottes, J. and Azéma, M., 2005. “Les Images de Felins de la Grotte Chauvet” in La Grotte Chauvet à Vallon-Pont-d’Arc: Un Bilan des Recherches Pluridisciplinaires Actes de la Séance de la Société Préhistorique Française, 11 et 12 Octobre 2003, Lyon Bulletin de la Société Préhistorique Française, Vol. 102(1): 173–182, Société Préhistorique Française, Paris, France. eISSN: 1760-7361 ISBN: 2-913745-21-0.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_2005_num_102_1_13349 (accessed on 5 October 2011).

Chauvet Cave, Vallon-Pont-d’Arc, Ardeche, France. Europe. Paleolithic cave painting. Lion (cat, feline) motif(s).

Abstract: “Alongside mammoths and rhinoceroses, felines number among the most frequently depicted animals at Chauvet. There are 75, representing more than 60% of all members of the cat family inventoried in the whole of European Palaeolithic art. They are found throughout the cave but above all in the second section, in particular in the End Chamber which seems to be “dedicated” to this predator. These felines are sometimes stereotyped, sometimes not so, on the whole realistic, and in many cases animated. They are often associated with other animals of the same species. The obvious interaction between certain individuals has allowed at least three scenes to be identified, including the famous «bison hunt» seen on the large panel in the End Chamber. The importance of the theme of the lion at Chauvet, as on various sites presenting parietal or portable art dating from the early Upper Palaeolithic, has been set in parallel with the concomitant abundance, at the same period, of dangerous animals, generally not hunted but depicted in the bestiary. The later rise in force of other animals (horses, Bovidae, Cervidae, ibex), which finally supplanted them to a large degree, attests to thematic changes in the art of this long period. The Chauvet Cave, in view of the quantity of felines depicted and their originality, will probably become the reference site for studying depictions of these animals in Upper Palaeolithic art.”

Biblio, Persee, APGODQ.

Clottes, Jean and Azema, Marc, 2014. “Identical (Aurignacian?) Signs in the Chauvet-Pont d’Arc and Candamo Caves” in 22 International Newsletter on Rock Art (70): 1–6, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/images/Inora_70_2014_p._1-6_Clottes_Aze%C3%BCma.pdf (accessed on 22 April 2017).

Chauvet, Pont d’Arc, France. La Pena de Candamo, Asturias, Spain. Europe. Paleolithic rock art. Aurignacian. Poly-lobe, triangular motif(s).

LMRAA.

Clottes, Jean and Azema, Marc, 2015. “4.14 Les Images de Felins de la Grotte Chauvet” in Une Vie d’Art Prehistorique L’Homme des Origines, 930–938, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Chauvet Cave, Vallon-Pont-d’Arc, Ardeche, France. Europe. Paleolithic art. Feline motif(s). (Reprint from Bulletin de la Société Préhistorique Française, 2005, 102(1): 173–182).

LMRAA.

Clottes, Jean and Azema, Marc, 2015. “4.18 Les Signes de Type Chauvet” in Une Vie d’Art Prehistorique L’Homme des Origines, 980–985, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet, Ardeche, France. Europe. Paleolithic art. Signs motif(s). (Reprint from International Newsletter on Rock Art, 2008, 50, 2-7).

LMRAA.

Clottes, Jean and Azema, Marc, 2015. “4.19 Signes (Aurignaciens?) Identiques dans les Grottes Chauvet-Pont-d’Arc et Candamo” in Une Vie d’Art Prehistorique L’Homme des Origines, 986–989, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet, Ardeche, France and La Pena de Candamo, Asturias, Spain. Europe. Paleolithic art. Signs (poly-lobe triangular) motif(s). (Reprint from International Newsletter on Rock Art, 2014, 70, 1–6).

LMRAA.

Clottes, Jean and Azema, Marc, 2015. “4.20 Traces de Doigts et Dessins dans la Grotte Chauvet (Salle du Fond)” in Une Vie d’Art Prehistorique L’Homme des Origines, 990–992, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet, Ardeche, France. Europe. Paleolithic art. Finger trace motif(s). (Reprint from International Newsletter on Rock Art, 2008, 52, 1–5).

LMRAA.

Clottes, Jean and Cérou, E., 2015. “2.1 La Statuette Féminine de Monpazier (Dordogne)” in Une Vie d’Art Prehistorique L’Homme des Origines, 205–216, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Monpazier, Dordogne, France. Europe. Paleolithic art. Mobiliary (portable) art. Venus, female motif(s). Statuette. (Reprint from Bulletin de la Société Préhistorique Française, 1970, 67(2): 435–444).

LMRAA.

Clottes, J., Beltran, A., Courtin, J. and Cosquer, H., 1992. “Grotte Cosquer (Cap Morgiou, Marseille)” in Bulletin de la Société Préhistorique Française 89: 98–28, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1992_num_89_4_10536# (accessed on 8 October 2011).

Cosquer Cave, Cap Morgiou, Marseille, France. Europe. Paleolithic art. Direct dating. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating.

Abstract: “In 1991 a huge chamber with numerous paintings and engravings was discovered by a professional deep-sea diver after a long (175 m) passage that sloped up from a narrow (1.30 m high) entrance situated 37 m under present sea-level. The art was preserved because the chamber happened to be high up enough not to have been flooded, but large numbers of paintings and engravings were most probably destroyed in the passage and in the lower part of the chamber. Many other caves along that coast disappeared under the sea after the end of the Pleistocene with the rise of the water, but it is the first time ever that rock art was discovered under such circumstances. The first question to address was that of the art’s authenticity. On-the-spot observations and various analyses (pollen, charcoal, 14C dating) leave no room for any doubt. A 18,440 bp date ( ± 440, Ly- 5558) was obtained from charcoal lying on the ground. The 17 samples of charcoal determined belonged to Pinus silvestris and Pinus nigra, whereas the Pine of Alep, the only species now represented in the area, was absent. Two preliminary pollen analyses pointed to a Wiirm landscape, with very few trees, among which Betula. At least half the paintings are covered with patches of bright white calcite, of a type which, according to geologists, takes a very long time in depositing. Most of the engravings are distinctly weathered and patina- ted. However, the art’s authenticity was challenged by a few, from the photographs published in the newspapers. Their arguments are discussed in this study. So far, 44 animals (21 engraved, 23 painted) and 26 negative hands, most of them with incomplete fingers, have been found. Horses are dominant (14), followed by bisons and ibex in equal numbers (7), then by chamois (5); there also are 1 red deer, 1 feline, 3 penguins, 2 seals and 2 possible megaceros, as well as 2 indeterminate quadrupeds. Many signs, among which long barbed lines superimposed on various animals, were observed. In addition, the walls of the chamber are covered with innumerable fine engravings and finger tracings that have not so far been studied. The present count of animals, hands and signs is therefore highly provisional.The superimpositions point to two possible periods, the earlier with the negative hands and the finger tracings, the later with the painted and engraved animals and the fine engravings. From the conventions used, the second period is probably contemporary with Ebbou (Ardèche), or the Late Solutrean of Parpalló (Spain), maybe a bit later as some details have their counterpart in Lascaux. This art should be situated within a period estimated between 17,000 and 20,000 bp. Even though the cave art cannot yet be studied as it should and it will be years before it is, the importance of this discovery is obvious: it is located in the Provence where no Paleolithic rock art had ever been found before; the art exhibits various characteristics that may bear witness to outside influences or may be original and have spread from there (Lascaux; Ebbou and other “mediterranean” caves; Gargas for the hands); finally, as is often the case with major art caves, it shows some distinct original features (for example, the sea animals, some signs, etc.).”

ALOD, ICOMOS, Persee, ABMARB.

Clottes, J., Beltran, A., Courtin, J. and Cosquer, H., 1992. “The Cosquer Cave on Cape Morgiou, Marseilles” in Antiquity 66: 583–589, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

COSQUER CAVE, CAPE MORGIOU, MARSEILLES, FRANCE. EUROPE. PALEOLITHIC CAVE ART.

Biblio, ICOMOS, ABMARB.

Clottes, J., Besesek, M., Gely, G., Ghemis, C., Kenesz, M., Lascu, V.T., Meyssonnier, M., Philippe, M., Plichon, V., Prud’Homme, Fr., Radu, V.A., Rut, T., and Tociu, R.L., 2011. “La Grotte Ornee de Coliboaia” in Spelunca 124: 35–40.

Coliboaia, Romania. Central Europe. Paleolithic art.

Biblio.

Clottes, Jean, Besesek, Mihai, Gely, Bernard, et al., 2010–2011. “Découverte d’une Nouvelle Grotte Ornée Paléolithique en Roumanie, dans le Département du Bihor” in Symposium 1: L’Art Pléistocène dans le Europe Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 86–87, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Département du Bihor, Romania, eastern Europe. Paleolithic art.

Dialnet.

Clottes, J., Besesek, B., Gely, B., et al., 2012. “Decouverte d’une Nouvelle Grotte Ornee Paleolithique en Roumainie, Departement du Bihor” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV–LXVI, Book: 86–87, CD: 513–528, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Bihor, Romania. Europe. Paleolithic art.

Biblio, LMRAA.

Clottes, J., Besesek, B., Gely, B., et al., 2015. “3.19 Decouverte d’une Nouvelle Grotte Ornee Paleolithique en Roumainie, Departement du Bihor” in Une Vie d’Art Prehistorique L’Homme des Origines, 734–743, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Bihor, Romania, Central Europe. Paleolithic art. (Reprint from L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, Sept. 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, 2012, LXV–LXVI, Book: 86–87, CD: 513–528).

LMRAA.

Clottes, J. and Cérou, E., 1970. “La Statuette Féminine de Monpazier (Dordogne)” in Études et Travaux Bulletin de la Société Préhistorique Française 67(2): 435–444, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1970_hos_67_2_4208 (accessed on 13 October 2011).

Monpazier, Dordogne, France. Europe. Paleolithic art. Mobiliary (portable) art. Venus, female motif(s). Statuette.

Abstract: “This newly-found paleolithic feminine statuette was discovered in the South of Dordogne, on an open-air site which yielded perigordian and other artefacts. Its size is very short (5,5 cm), and it is made out of a hard and complex sort of rock, consisting mainly of limonite. Some of its features (slimness of its hips, real steatogygia) call to mind the outline of one of the Grimaldi statuettes. The importance bestowed upon its sexual characters (breasts, projecting abdomen, buttocks, sex), its stylised head and legs, its missing arms tally with what we know of the paleolithic feminine statuary. On the other hand, the carving of both eyes and of its feet, the lack of any separation betweenits lower limbs (as seen from behind), and above all its hypertrophied vulva can be considered as fully original features which cannot be explained by the natural shape of the stone out of which it was made. And yet, that shape certainly played a by no means unimportant part in the making out of this statuette that we may well consider as a particulary striking symbol of fecundity.”

Persee.

Clottes, Jean and Cole, Glen H., 1993. “Plaquettes Graves Magdaleniennes de La Spugo de Ganties (Haute-Garonne)” in Bulletin de la Société Préhistorique Ariège-Pyrénées 48: 35–46, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Spugo de Ganties, Haute-Garonne, France. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian. Plaquettes.

UVAP.

Clottes, Jean and Cole, Glen H., 2015. “2.2 Plaquettes Graves Magdaleniennes de La Spugo de Ganties (Haute-Garonne)” in Une Vie d’Art Prehistorique L’Homme des Origines, 217–222, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

La Spugo de Ganties, Haute-Garonne, France. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian. Plaquettes. (Reprint from Bulletin de la Société Préhistorique Ariège-Pyrénées, 1993, 48, 35–46).

LMRAA.

Clottes, Jean and Courtin, Jean, 1993. “Dating a New Painted Cave: The Cosquer Cave, Marseille, France” in Time and Space. Dating and Spatial Considerations in Rock Art Research AURA Occasional Paper, (8): 22–31, Australian Rock Art Research Association, Melbourne, Australia. ISBN: 0646156179.

COSQUER CAVE, MARSEILLES, PROVENCE, FRANCE. EUROPE. METHODOLOGY FOR ASCERTAINING THE AUTHENTICITY AND DATING OF THE PALEOLITHIC CAVE PAINTINGS. WEATHERING. CALCITE COATING.

Abstract: “Whenever a new painted cave is discovered, the first problems to be solved are its authenticity and its dating. Often in the past such discoveries have given rise to polemics, the new paintings being suspected by some of being fakes, such as with Altamira, Lascaux, Rouffignac. This article deals with the recent discovery (summer 1991) of the Cosquer Cave, near Marseille (France), where the problem is complicated by the entrance being now 37 m below sea level. The discovery is quite important as it is the first cave with Palaeolithic rock art ever found in Provence, and because of its great number of paintings and engravings. The various ways used to test the genuineness of the art, the arguments put forth for or against it, and the assumptions on which they rest, are discussed in this article.” Abstractor: Robert G. Bednarik AATA Nos.:1995-94962 and 32-35.

LMRAA, AATA.

Clottes, Jean and Courtin, Jean, 1993 (April). “Neptune’s Ice Age Gallery” in Natural History 102: 64(8), American Museum of Natural History, New York, New York.

COSQUER CAVE, CALANQUE AREA, SOUTHERN FRANCE. MEDITERRANEAN. EUROPE. PALEOLITHIC CAVE PAINTINGS IN SUBMERGED CAVE.

INFOTRAC.

Clottes, Jean and Courtin, Jean, 1993 (May–June). “World’s Oldest Cave” in Archaeology 61–63, Archaeological Institute of America, New York, New York.

Cosquer Cave, France. Europe. Paleolithic cave art.

ICOMOS.

Clottes, Jean and Courtin, Jean, 1996. The Cave Beneath the Sea: The Paleolithic Images at Cosquer, 200 pgs, Harry N. Abrams, Inc., ISBN-10: 0810940337 ISBN-13: 978-0810940338.

Cosquer Cave, Marseilles, France. Europe. Paleolithic cave art. Inundated site following ocean level rise.

Abstract: “In 1991, French deep-sea diver Henri Cosquer discovered an underwater cave 120 feet below sea level near Marseilles containing Paleolithic paintings and engravings of animals, complex geometric signs, stenciled human hands and innumerable finger tracings. Once several miles inland, the cave’s mouth became submerged when seas rose at the end of the last Ice Age some 12,000 years ago. French archeologists Clottes and Courtin took part in expeditions to the submerged cavern. Using radiocarbon tests, they dated some of the artwork to 27,000 years ago-9500 years earlier than the celebrated paintings of the Lascaux cave. Although the Cosquer cave’s animal paintings do not seem nearly as powerful as those of Lascaux, the art and artifacts left behind by adventurous Homo sapiens hunters add up to an extraordinary find, as documented in this attractive album. Among the prehistoric artworks are pictures of plains horses, ibex, bison and the extinct deer called megaloceros; rare images of marine animals such as seals, auks and a fish; and an engraving of a killed man, his skull crushed by a spearhead-an image that suggests to the authors a murder or execution. Natural Science Book Club main selection.” Publishers Weekly.

AMAZON, LMRAA.

Clottes, J., Courtin, J., Collina-Girard, M., Arnold, M. and Valladas, H., 1997. “News from Cosquer Cave: Climatic Studies, Recording, Sampling, Dates” in Antiquity 71: 321–326, Antiquity Publications, Cambridge, England. ISSN: 0003-598X, 1745-1744.

Cosquer Cave, France. Europe. Paleolithic cave art. Climatic studies, recording, sampling, dating. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating.

Biblio.

Clottes, Jean, Courtin, Jean and Valladas, Helene, 1992 (November). “A Well-Dated Paleolithic Cave: The Cosquer Cave at Marseille” in Rock Art Research 9: 122–129, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

COSQUER CAVE, MARSEILLE, SOUTHERN FRANCE. EUROPE. PALEOLITHIC CAVE ART AT SUBMERGED SITE DESCRIBED. DATING. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating.

Abstract: “A series of accelerator mass spectrometry (AMS) radiocarbon dates from Cosquer Cave is reported. It includes direct dates secured from rock paintings, which are supported by dates from charcoal found on the cave floor. Two phases of cave use and parietal art are thus identifiable. The engraved and painted faunal depictions in the art are considered, and the finger flutings and hand stencils are discussed. (See also AATA Online 41-4116.)” Abstractors: Author Abstract and Robert G. Bednarik AATA Nos.:1993-31725 and 30-2254.

LMRAA.

Clottes, Jean, Courtin, Jean and Valladas, Helene, 2015. “1.11 Nouvelles Dates Directes pour la Grotte Cosquer” in Une Vie d’Art Prehistorique L’Homme des Origines, 115–116, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Cosquer Cave, France. Europe. Paleolithic art. Direct dating. (Reprint from International Newsletter on Rock Art, 1996, 15: 2–4).

LMRAA.

Clottes, Jean, Courtin, Jean, Valladas, Helene, Cachier, Helene, Mercier, Norbert and Arnold, Maurice, 2015. “1.10 La Grotte Cosquer Datee” in Une Vie d’Art Prehistorique L’Homme des Origines, 109–114, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Cosquer Cave, France. Europe. Paleolithic art. Direct dating. (Reprint from Bulletin de la Société Préhistorique Française, 1992, 89(8): 230–234).

LMRAA.

Clottes, Jean, Courtin, Jean and Vanrell, Luc, 2005. “Prehistoric Images and Medicines under the Sea” in International Newsletter on Rock Art (42): 1–8, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Cosquer Cave, Marseilles, France. Europe. Paleolithic cave art. Summary of new research. Evidence that walls coated with calcium carbonate were scraped and stalagmites and stalagtites were intentionally broken, ostensibly to collect powder for medicinal or ritual purposes.

LMRAA.

Clottes, Jean, Courtin, Jean and Vanrell, Luc, 2005–2006. “Nouvelles Recherches a la Grotte Cosquer (Marseille)” in Homenaje a Jesus Altuna Munibe 57: 9–22, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/200503009022AA.pdf (accessed on 27 November 2011).

Grotte Cosquer, Marseille, France. Europe. Paleolithic art. Hand stencil, signs motif(s). Mondmilch. Stalagmite. Medicine. Charcoal pigments: conventional pretreatment with AMS radiocarbon dating. Direct dating.

Abstract: “In July 1991, a deep sea diver called HENRI COSQUER discovered paintings and engravings in a cave beneath the sea, near Marseille (France), on the Mediterranean. In 1991, 1992 and 1994, a number of dives were organized by the French Ministry of Culture, with the participation of Dr. JEAN COURTIN, both archaeologist and diver. Others took place in 2002 and 2003, with the three authors. The extraordinary location of the cave entrance is due to the rise of the sea level after the end of the last glaciation and the melting of the thick ice caps. At the time of the glacial maximum, about 20,000 years ago, the sea was nearly 400 feet lower than now and the shore was 3 miles away. The walls of all the passages and chambers under the water have been corroded and no painting or engraving has been preserved. The rock art discovered is located in the upper chambers that have remained above the sea. About 177 animal figures have been registered, as well as 216 diverse geometric signs, 65 hand stencils and the image of a killed man. The ground is littered with charcoal from the wooden torches people used or from the fires they made in order to get charcoal to make drawings with. People did not live in the depths of those caves. They went there for their ceremonies and also to scrape mondmilch from the wall and to take away fragments of stalagmites to be probably used as medicines. The 27 radiocarbon dates obtained have shown that the cave had been frequented during two main periods, first around 26 to 27,000 before present, then around 19,000 BP. The Cosquer Cave, even though more than three-quarters of its art was no doubt destroyed when it got flooded, is however a major discovery, because it is in the Provence where no such sites had been known before, because of the activities that took place in the cave, because of its abundant animal figures, hand stencils and signs, and also because animals rarely (seals, saiga antelope, elk) or never (auk) depicted are present among its bestiary.”

Internet.

Clottes, Jean, Courtin, Jean and Vanrell, Luc, 2007 (November–December). “La Grotte Cosquer à Marseille” in Les Grottes Ornées en France, Jean Clottes, ed. Les Dossiers de Archéologie, (324): 38–45, Editions Faton, Dijon, France. ISSN: 1141-7137.

Grotte Cosquer, Marseille, France, Europe. Paleolithic art.

Abstract: “En octobre 1991, l’annonce de la découverte d’une grotte ornée par un plongeur professionnel, Henri Cosquer, dans le Massif des Calanques, fut un événement. L’accès aux salles ornées n’était possible que par un long boyau ennoyé dont l’entrée se trouvait à 37 m sous l’eau. Trois plongeurs s’y perdirent et y trouvèrent la mort le 1er septembre 1991. La découverte fut officiellement déclarée le 3 septembre. Les premières peintures et gravures révélées, assez spectaculaires, devaient être vérifiées. L’un de nous (Jean Courtin), préhistorien et plongeur confirmé, en fut chargé par le Ministère de la Culture. Son expertise, presque immédiate, confirma l’authenticité des œuvres.”

Internet.

Clottes, Jean, Courtin, Jean and Vanrell, Luc, 2015. “4.30 Images Prehistorique et “Medicines” sous le Mar” in Une Vie d’Art Prehistorique L’Homme des Origines, 1083–1088, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Cosquer, France. Europe. Paleolithic. art. Evidence that walls coated with calcium carbonate were scraped and stalagmites and stalagtites were intentionally broken, ostensibly to collect powder for medicinal or ritual purposes. (Reprint from International Newsletter on Rock Art, 2005, 42, 1–8).

LMRAA.

Clottes, J., ed. and Delporte, H., ed., 2003. La Grotte de La Vache (Ariege). Fouilles Romain Robert: Les Occupations du Magdalénien Documents Préhistoriques no. 16, Vol. 1: 407 pgs, Musee des Antiquites Nationales, St Germain-en-Laye, France.

La Vache, Ariege, France. Europe. Paleolithic art.

Abstract: “Située en rive gauche du Vicdessos (Alliat, Ariège), face au célèbre porche de Niaux, la grotte de La Vache, par sa richesse archéologique, est l’un des sites les plus importants pour la connaissance de la Préhistoire pyrénéenne. De fait, il est l’un des gisements-clés pour comprendre le mode de vie des groupes de chasseurs-collecteurs du Magdalénien supérieur qui occupèrent cette vallée à la fin des Temps glaciaires, il y a environ 15 000 ans. Dans ce volume, qui réunit les contributions de nombreux scientifiques spécialistes de la Préhistoire et de différentes disciplines, cette identité régionale si ancienne est révélée pour la première fois au travers d’articles de synthèse richement documentés. Après un historique des premières recherches et des fouilles Romain Robert, la réflexion sur la grotte s’organise autour de la position chronologique et paléoenvironnementale du niveau archéologique. Les objectifs suivants ont été privilégiés : datation, reconstitution de la flore, de la faune et études des vestiges archéologiques (industries lithique et en matières dures animales, parure). A la lecture de ce volume, que vient admirablement compléter le second consacré à l’art mobilier de la grotte, le lecteur prendra la pleine mesure d’une culture fondamentale, le Magdalénien, dans son contexte européen et régional.”

RASNW3.

Clottes, J., ed. and Delporte, H., ed., 2003. La Grotte de La Vache (Ariege). Fouilles Romain Robert: L’Art Mobilier Documents Préhistoriques no. 16, Vol. 2: 463 pgs, Musee des Antiquites Nationales, St Germain-en-Laye, France.

La Vache, Ariege, France. Europe. Paleolithic art. Mobiliary (portable) art.

Abstract: “L’art mobilier de la grotte de La Vache est depuis longtemps célèbre et constitue l’une des séries les plus abondantes en même temps que les plus diversifiées et les plus spectaculaires de tout l’art mobilier préhistorique européen. Plusieurs pièces, comme “La Frise des lions”, “Le Sceptre”, “Le Bâton aux ours” et tant d’autres comptent parmi les chefs-d’oeuvre de cet art vieux de plusieurs millénaires, révélant un bestiaire éclectique où sont figurés les espèces du fonds commun (bouquetins, chevaux, bisons, aurochs, rennes, biches, cerfs) et les animaux plus rares comme le Lion, la Saïga, le Loup, L’Isard et les rongeurs. L’homme est présent, mais minoritaire. Exceptionnelle, cette collection de 574 objets en bois de renne et de cerf, en os et sur support lithique, porteurs de décors à la fois naturalistes et non figuratifs, est présentée à la lueur de nouvelles études, rendant ainsi hommage aux travaux de leurs inventeurs, Félix Garrigou, Romain Robert et Louis-René Nougier. Pour la première fois, cet ensemble prestigieux, conservé pour l’essentiel au musée des Antiquités nationales, est présenté dans son intégralité, réservant au lecteur de nombreuses surprises. Dans ce volume, sont réunies sous la direction de J. Clottes, spécialiste international de l’art rupestre et d’Henri Delporte, ancien conservateur en chef du musée des Antiquités nationales les contributions de différents spécialistes de l’art paléolitique. Chaque objet décoré est traité sous la forme d’une notice explicative accompagnée d’une illustration grandeur nature. Ces notices sont le fruit de travaux de recherche qui ont nécessité des méthodes et techniques modernes pour mieux entrevoir l’univers symbolique des chasseurs-collecteurs magdaléniens qui occupèrent la vallée du Vicdessos, il y a près de de 15 000 ans. Ceci montre, une nouvelle fois combien est importante, la nécessité d’une recherche interdisciplinaire, pour mesurer toute la richesse documentaire d’un patrimoine aussi prestigieux.”

RASNW3.

Clottes, Jean, Duport, Louis and Feruglio, Valerie, 1991. “Derniers Elements sur les Signes du Placard” in Préhistoire Ariégeoise: Bulletin de la Société Préhistorique Ariège-Pyrénées XLVI: 119–132, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1764-1020.

Placard, France. Europe. Paleolithic art.

Sign motif(s).

Internet.

Clottes, Jean, Duport, Louis and Feruglio, Valerie, 2015. “4.16 Les Signes du Placard” in Une Vie d’Art Prehistorique L’Homme des Origines, 945–968, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte du Placard, Vilhonneur, Charente, France. Europe. Paleolithic art. Signs motif(s). (Reprint from Bulletin de la Société Préhistorique de l’Ariège, 1990, 45, 15–49).

LMRAA.

Clottes, Jean, Duport, Louis and Feruglio, Valerie, 2015. “4.17 Derniers Elements sur les Signes du Placard” in Une Vie d’Art Prehistorique L’Homme des Origines, 969–979, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte du Placard, Vilhonneur, Charente, France. Europe. Paleolithic art. Signs motif(s). (Reprint from Bulletin de la Société Préhistorique de l’Ariège, 1991, 46, 119–132).

LMRAA

Clottes, Jean, Fritz, Carole, Giraud, Jean-Pierre and Servelle, Christian, 2012. “L’Art Mobilier: Le Galet Grave Badegoulien” in Solutreen et Badegoulien au Cuzoul de Vers: Des Chasseurs de Rennes en Quercy, J. Clottes, J-P, Giraud and P. Chalard, dirs, (131): 199–203, Éditions Eraul, Universite de Liege, Liege, Belgium.

Vers, Lot, France. Europe. Paleolithic art. Badegoulien. Engraved pebble.

UVAP.

Clottes, Jean, Fritz, Carole, Giraud, Jean-Pierre and Servelle, Christian, 2015. “2.4 L’Art Mobilier: Le Galet Grave Badegoulien” in Une Vie d’Art Prehistorique L’Homme des Origines, 239–244, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Vers, Lot, France. Europe. Paleolithic art. Mobiliary (portable) art. Badegoulien. Engraved pebble. (Reprint from

Solutreen et Badegoulien au Cuzoul de Vers: Des Chasseurs de Rennes en Quercy, J. Clottes, J-P, Giraud and P. Chalard, dirs., 2012, 131, 199–203, Etudes et Recherches Archeologiques de l’Universite de Liege (ERAUL), Liege, Belgium).

LMRAA.

Clottes, Jean and Gailli, Rene, 1984. “Grotte de Massat” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 395–399, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Massat, Midi-Pyrenees, France. Europe. Paleolithic cave art. Human in profile motif(s).

UVAP, LMRAA.

Clottes, Jean and Gailli, Rene, 2015. “3.5 Grotte de Massat” in Une Vie d’Art Prehistorique L’Homme des Origines, 542–550, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Massat, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 359–399, Ministere de la Culture: Imprimerie Nationale, Paris, France).

LMRAA.

Clottes, J. and Garcia, M.-A., 1981. “Vrais et Faux Bisons de Mayriere Superieure (Bruniquel, Tarn-et-Garonne): Problemes d’Observations et de Methode” in Bulletin de la Société Préhistorique Française 78: 71–74, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1982_num_79_4_5370 (accessed on 10 October 2011).

Mayriere Superieure, Bruniquel, Tarn-et-Garonne, France. Europe. Paleolithic cave art. Bison motif(s).

UVAP.

Clottes, Jean, Garner, Marilyn and Maury, Gilbert, 1994. “Bisons Magdaleniens des Cavernes Ariegeoises” in Bulletin de la Société Préhistorique de l’Ariège 49: 15–49, Société Préhistorique de l’Ariège, Foix, France. ISSN: 0245-9523.

Ariege, France. Europe. Paleolithic art. Magdalenian. Bison motif(s).

Biblio.

Clottes, Jean, Garner, Marilyn and Maury, Gilbert, 2015. “4.13 Bisons Magdaleniens des Cavernes Ariegeoises” in Une Vie d’Art Prehistorique L’Homme des Origines, 904–929, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

France. Europe. Paleolithic art. Magdalenian. Bison motif(s). (Reprint from Bulletin de la Société Préhistorique de l’Ariège, 1994, 49, 15–49).

LMRAA.

Clottes, Jean, Gely, Bernard, Ghemis, Calin, Kaltnecker, Evelyne, Lascu, Vorel-Traian, Moreau, Christophe, Philipe, Michel, Frud’homme, Francoise and Valladas, Helene, 2011. “A Very Ancient Art in Rumania. The Coliboaia Dates” in International Newsletter on Rock Art (61): 1–3, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora61/Inora_61_2011_Totalite.pdf (accessed on 22 April 2017).

Coliboaia Cave, Natural Park of Mounts Apuseni, Department of Bihor, Romania. Central Europe. Paleolithic art. Direct carbon 14 dating.

LMRAA.

Clottes, Jean and Geneste, Jean Michel, 2015. “1.9 Le Contexte Archeologique et la Chronologie de la Grotte Chauvet” in Une Vie d’Art Prehistorique L’Homme des Origines, 100–108, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Chauvet Cave, Pont d’Arc, Ardeche, France. Europe. Paleolithic art. Archeological context. Chronology. (Reprint from Les Chemins de l’Art Aurignacien en Europe. Das Aurignacien und die Anfange der Kunst in Europa, Colloque International, Internationale Fachtagung, Aurignac, September 6–18, 2005, H. Floss and N. Rouquerol, eds., 2007, 363-378, Editions Musee-Forum d’Aurignac).

LMRAA.

Clottes, Jean and Geneste, Jean-Michel, 2005. “Chauvet Cave: Results of the Multidisciplinary Studies” in International Newsletter on Rock Art (42): 27–29, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

Chauvet Cave, France. Europe. Paleolithic cave art. Aurignacian cave art.

LMRAA.

Clottes, Jean and Geneste, Jean-Michel, 2007 (Nov–Dec). “La Grotte Chauvet, dix Ans Après” in Les Grottes Ornées en France, Jean Clottes, ed. Les Dossiers de Archéologie, (324): 10–19, Editions Faton, Dijon, France. ISSN: 1141-7137.

Chauvet Cave, Ardeche, France, Europe. Paleolithic art.

Abstract: “Découverte en décembre 1994, soit un peu plus de cinquante ans après Lascaux (septembre 1940), la grotte ornée de Combe- d’Arc, sur la commune de Vallon-Pont-d’Arc en Ardèche, appartient à la culture aurignacienne, et a été reconnue comme l’un des plus grands chefs-d’œuvre de l’art préhistorique au monde pour deux raisons : La première est que l’essentiel (60%) du bestiaire figuré est composé de rhinocéros, de lions et d’ours, animaux dangereux, qui ne figuraient pas au menu des paléolithiques. La seconde est que les techniques utilisées, c’est-à-dire la façon dont ces animaux ont été représentés, sont elles aussi étonnantes, surtout par l’usage constant de l’estompe et les recherches de perspectives. Très vite, La grotte fut classée le 13 octobre 1995 et, depuis, fait l’objet d’études scientifiques minutieuses. Sa conservation et sa préservation sont la priorité des spécialistes.”

internet, Refdoc.fr.

Clottes, Jean and Geneste, Jean-Michel, 2015. “3.18 La Grotte Chauvet, Dix Ans Après” in Une Vie d’Art Prehistorique L’Homme des Origines, 720–733, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte Chauvet-Pont-d’Arc, Vallon-Pont-d’Arc, Ardeche, France. Europe. Paleolithic art. (Reprint from Les Grottes Ornées en France, Jean Clottes, ed. Les Dossiers de Archéologie, 2007, 324, 10–19, Editions Faton, Dijon, France).

LMRAA.

Clottes, Jean, Giraud, Jean-Pierre and Servelle, Christian, 2015. “2.3 Un Galet Grave Badegoulien a Vers (Lot)” in Une Vie d’Art Prehistorique L’Homme des Origines, 223–238, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Vers, Lot, France. Europe. Paleolithic art. Mobiliary (portable) art. Badegoulien. Engraved pebble. (Reprint from Estudios en Homenaje al Profesor Antonio Beltran Martinez, 1986, 61–84, Universidad de Zaragoza, Facultad de Filosofía y Letras, Zaragoza, Spain).

LMRAA.

Clottes, Jean and Guicharmeau, Robert, 1977. “Les Bisons de la Grotte de Mayrière Supérieure à Bruniquel (Tarn-et-Garonne)” in Gallia Préhistoire 20: 293–299, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1977_num_20_1_1563 (accessed on 25 October 2011).

Grotte de Mayriere Superieure a Bruniquel, Tarn et Garonne, France. Europe. Paleolithic cave art. Animal, bison motif(s).

ICOMOS, Persee, Biblio.

Clottes, J. and Guichamaud, J., 1984. “La Grotte de Mayriere-Superieure” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 549–551, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Mayriere-Superieure, Bruniquet, Tarnet-Garonnes, France. Europe. Paleolithic cave art. Bison motif(s).

APGODQ, LMRAA.

Clottes, Jean and Guicharmeau, Robert, 2015. “3.14 Les Bisons de la Grotte de Mayrière Supérieure à Bruniquel (Tarn-et-Garonne)” in Une Vie d’Art Prehistorique L’Homme des Origines, 684–690, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Mayriere Superieure, Bruniquel, Tarn-et-Garonne, France. Europe. Paleolithic art. Bison, animal motif(s). (Reprint from Gallia Préhistoire, 1977, 20(1): 293–299).

LMRAA.

Clottes, J. and Larue-Charlus, G., 2003. “Quelques Complements sur l’Art de Gabillou” in Hommages a Jean Gausse Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 58: 29–45, Société Préhistorique Ariège-Pyrénées, Tarascon, France. ISSN: 1954-5045.

Gabillou, France. Europe. Paleolithic art.

RASNW3, Biblio.

Clottes, Jean and Larue-Charlus, Gautier, 2015. “4.6 Quelques Complements sur l’Art de Gabillou” in Une Vie d’Art Prehistorique L’Homme des Origines, 827–836, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Gabillou, France. Europe. Paleolithic art. (Reprint from Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, 2003, 58, 29–45).

LMRAA.

Clottes, J. and Lautier, J., 1981. “La Grotte Ornee Paleolithique du Travers de Janoye, a Penne (Tarn)” in Congrès Préhistorique de France-21e Session (3–9 September 1979). Préhistoire du Quercy dans le Contexte du Midi-Pyrénées, Vol. 1: 105–115, Société Préhistorique Française, CNRS Editions, Paris, France.

Janoye Penne, Tarn, France. Europe. Paleolithic cave art. Animal, signs motif(s).

ICOMOS, Internet.

Clottes, Jean and Lautier, Jean, 1984. “Grotte Le Travers de Janoye” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 544–548, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Le Travers de Janoye, Midi-Pyrenees, Tarn, Penne, France. Europe. Paleolithic cave art. Animal, bovid, line of red dots, indeterminate ibex, ibex motif(s).

APGODQ, LMRAA.

Clottes, Jean and Lautier, J., 2015. “3.15 La Grotte Ornee Paleolithiqe du Travers de Janoye, a Penne (Tarn)” in Une Vie d’Art Prehistorique L’Homme des Origines, 691–703, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Travers de Janoye, Penne, Tarn, France. Europe. Paleolithic art. Animal, sign motif(s).(Reprint from Congrès Préhistorique de France-21e Session (3–9 Septembre 1979). Préhistoire du Quercy dans le Contexte du Midi-Pyrénées, 1981, 1, 105–115. Quercy).

LMRAA.

Clottes, J. and Lewis-Williams, D., 1996. Les Chamanes de la Prehistorie. Transe et Magie dans les Grottes Ornées Points Histoire, 120 pgs, Seuil, Paris, France. ISBN-10: 2757804081 ISBN-13: 978-2757804087.

Europe. South Africa. Paleolithic cave art. Shamanic interpretations.

Biblio.

Clottes, J. and Lewis-Williams, D., 1997. “Les Chamanes des Cavernes” in Archéologia (336): 30–41, Editions Faton, Paris, France. ISSN: 0570-6270.

Europe. Paleolithic art. Shamanism.

Abstract: “Les auteurs proposent un condensé de leur récent ouvrage Les chamanes de la Préhistoire. Transe et magie dans les grottes ornées (1996), dont l’idée principale est d’explorer les perspectives ouvertes et les objections suscitées par la théorie, déjà ancienne (cf. Mircéa Eliade dès 1951), selon laquelle l’art paléolithique des grottes pourrait s’expliquer par une origine chamanique.”

Refdoc.fr.

Clottes, J. and Lewis-Williams, D., 1998. The Shamans of Prehistory. Trance and Magic in the Painted Caves, 120 pgs, Harry N. Abrams, Inc., New York, New York.

EUROPE. SOUTH AFRICA. PALEOLITHIC CAVE ART. SHAMANIC INTERPRETATIONS.

LMRAA.

Clottes, J. and Lewis-Williams, D., 2001. Les Chamanes de la Prehistorie. Texte Integral, Polemique et Reponses, 231pgs, Les Maison des Roches, Paris, France.

Europe. South Africa. Paleolithic cave art. Shamanic interpretations.

LMRAA.

Clottes, Jean and Lewis-Williams, J. David, 2006. “Chapter 6. After the Shamans of Prehistory: Polemics and Responses” in Talking with the Past. The Ethnography of Rock Art Oregon Archeological Society Publications, (16): 100–142, Oregon Archaeological Society, Portland, Oregon. ISBN: 0-9764804-3-3.

France. Spain. Europe. Ethnography. Paleolithic art. The authors summarize the criticisms directed at their publication “Shamans of Prehistory”, and defend their premises.

LMRAA.

Clottes, J. and Lewis-Williams, D., 2007. Les Chamanes de la Prehistorie. Transe et Magie dans les Grottes Ornées Suivi de Après Les Chamanes, Polémiques et Points Histoire, 236 pgs, Seuil, Paris, France. ISBN-10: 2757804081 ISBN-13: 978-2757804087.

Europe. South Africa. Paleolithic cave art. Shamanic interpretations.

Abstract: “Partout dans le monde, à toutes les époques, les hommes ont cherché à entrer en contact avec les esprits par l’intermédiaire des chamanes et de leurs voyages pendant la transe. Il était donc légitime de chercher à discerner la part de ces pratiques dans l’art préhistorique des cavernes. Paru en 1996, le livre Les Chamanes de la préhistoire a fait date : sans constituer le chamanisme en explication unique, il avance des hypothèses et ouvre des pistes intéressantes. Accueilli avec passion en France et à l’étranger, il a aussi trouvé des détracteurs et fait naître des polémiques.”

Biblio.

Clottes, Jean, Lorblanchet, Michel and Beltran, Antonio, 1995. “Are the Foz Coa Engravings Actually Holocene?” in International Newsletter on Rock Art (12): 19–21, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora12/inora-12.pdf (accessed on 22 April 2017).

COA VALLEY, PORTUGAL. EUROPE. HORSE, BOVID, IBEX, DEER MOTIF(S). PALEOLITHIC vs HOLOCENE DATING. STYLE ANALYSIS vs. DIRECT DATING.

LMRAA (PHOTO COPY), EPA, ABMARB.

Clottes, J., Menu, M. and Walter, PH., 1990. “La Preparation des Peintures Magdaleniennes des Cavernes Ariegeoises” in Bulletin de la Société Préhistorique Française 87(6): 170–192, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1990_num_87_6_10434 (accessed on 8 October 2011).

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art. Pigment analysis.(With English summary). Magdalenian.

Abstract: “Analyses of Upper Palaeolithic paintings in some Ariège caves, particularly Niaux, show that Magdale- nian artists used a real paint. Their workshops had some elaborate recipes at their disposal and followed them scrupulously. The chronology of these recipes, based upon analyses of well-dated mobiliáry art works covered with paint, enables the authors to conclude that the Niaux cave was decorated over a much longer time than was previously thought. Mots-clés.”

ALOD, ICOMOS, Persee, Biblio.

Clottes, Jean, Menu, Michel and Walter, Philippe, 2015. “1.15 Preparation des Peintures Magdaleniennes des Cavernes Ariegeoises” in Une Vie d’Art Prehistorique L’Homme des Origines, 146–168, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Ariege, France. Europe. Paleolithic art. Magdalenian. Pigment analysis. (Reprint from Bulletin de la Société Préhistorique Française, 1990, 87(6): 170–192).

LMRAA.

Clottes, J. and Rouzaud, R., 1984. “Grotte des Eglises” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 428–432, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Les Eglises, Tarascon-sur-Ariege, France. Europe. Paleolithic cave art. Animal, ibex, bison, horse, rabbit. tectiform motif(s).

Biblio, LMRAA.

Clottes, Jean and Rouzaud, Francois, 2015. “3.13 Grotte des Eglises” in Une Vie d’Art Prehistorique L’Homme des Origines, 675–683, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte des Eglises, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 428–432, Ministere de la Culture: Imprimerie Nationale, Paris, France).

LMRAA.

Clottes, Jean, Rouzaud, Francois and Wahl, Luc, 1984. “Grotte de Fontanet” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 433–437, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Fontanet, Tarascon-sur-Ariege, Midi-Pyrenees, France. Europe. Paleolithic cave art. Human head, anthropomorph, bison, female human, cupule, infant hand print imprinted in clay motif(s).

UVAP, LMRAA.

Clottes, Jean, Rouzaud, Francois and Wahl, Luc, 2015. “3.4 Grotte de Fontanet” in Une Vie d’Art Prehistorique L’Homme des Origines, 534–541, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Fontanet, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 1984, 433–437, Ministere de la Culture: Imprimerie Nationale, Paris, France).

LMRAA.

Clottes, J. and Simonnet, R., 1972. “Quelques Elements Nouveaux sur le Reseau Rene Clastres de la Caverne de Niaux” in Bulletin de la Société Préhistorique de l’Ariège 27: 3–20, Société Préhistorique de l’Ariège, Tarascon-sur-Ariege, France. ISSN: 0245-9523.

Reseau Rene Clastres, Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art. Charcoal analysis. Archaeological field work. Human footprints.

ICOMOS.

Clottes, Jean and Simonnet, Robert, 1972. “Le Réseau René Clastres de la Caverne de Niaux (Ariège)” in Études et Travaux Bulletin de la Société Préhistorique Française 69: 293–323, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1972_hos_69_1_8166# (accessed on 13 October 2011).

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic art. Magdalenian. Human footprints.

Abstract: “An important new system was discovered in 1970 in the Cave of Niaux. In the centre of the system, 5 animals had been painted in black (3 bisons, 2 of which unfinished, one horse and one Mustela). The latter (a weasel ?) is unique in palaeolithic art. We could prove that the prints and the skeleton of a stone-marten, discovered in the same galleries, had probably nothing to do with the above-mentionned painting. Besides, four black lines were found on the walls in various parts of the new system. Prehistoric men have left numerous testimonies of their comings and goings : charcoal, a wooden torch, and, above all, about 500 footprints. The complete study and casting of those prints is yet to be done ; however, we were able to ascertain that the prehistoric visitors of the cave numbered at the very least three children and two grown-ups. Three children walked all along a sand-dune in the chamber where the paintings are : their printed paths constitute one of the most moving witnesses of prehistoric life so far discovered. The distribution of human traces in the cave apparently points to the Magdalenians having used a different entrance from the one we know. The chronological gap between the style of the paintings and the cl4 datings (about 8 000 B.C.), as well as several other remarks, enables us to state that two different prehistoric parties at least have gone through the cave.”

Persee.

Clottes, Jean and Simonnet, Robert, 1973. “Une Datation Radicarbone dans la Gortte Ornee de Fontanet (Ornolac-Ussat-Les Bains, Ariege)” in Études et Travaux Bulletin de la Société Préhistorique Française 71: 106–107, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

Gortte Ornee de Fontanet, Ornolac-Ussat-Les Bains, Ariege, France. Europe. Paleolithic art. Charcoal pigment: conventional pretreatment with AMS radiocarbon dating.

MWRBRAD.

Clottes, J. and Simonnet, R., 1984. “Le Reseau Rene Clastres” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 424–427, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Le Resseau Rene Clastres, Niaux, Ariege, France. Europe. Paleolithic cave art. Animal, horse, bison motif(s).

Biblio, LMRAA.

Clottes, J. and Simonnet, R., 1990. “Retour au Reseau Clastres (Niaux, Ariege)” in Bulletin de la Societe Prehistorique de l’Ariege 45: 51–139, Societe Prehistorique de l’Ariege, Tarascon-sur-Ariege, France.

Reseau Clastres, Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic cave art. Charcoal analysis.

ICOMOS, Biblio.

Clottes, Jean and Simonnet, Robert, 2015. “3.8 Le Réseau René Clastres de la Caverne de Niaux (Ariège)” in Une Vie d’Art Prehistorique L’Homme des Origines, 565–590, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from Études et Travaux Bulletin de la Société Préhistorique Française, 1972, 69(1): 293–223).

LMRAA.

Clottes, Jean and Simonnet, Robert, 2015. “3.9 Retour au Reseau Clastres (Niaux, Ariege)” in Une Vie d’Art Prehistorique L’Homme des Origines, 591–641, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Grotte de Niaux, Ariege, Midi-Pyrenees, France. Europe. Paleolithic art. (Reprint from Bulletin de la Societe Prehistorique de l’Ariege, 1990, 45, 51–139).

LMRAA.

Clottes, J., Valladas, H., Cachier, M. and Arnold, M., 1992. “Des Dates pour Niaux et Gargas” in Bulletin de la Société Préhistorique Française 89: 270–274, Société Préhistorique Française, Paris, France. eISSN: 1760-7361.

Niaux and Gargas, Ariege, Haute Pyrenees, France. Europe. Paleolithic art. Charcoal pigment: conventional pretreatment with AMS radiocarbon dating.

MWRBRAD, Biblio.

Clottes, J., et al., 1995. “Radiocarbon Dates for the Chauvet-Pont-d’Arc Cave” in International Newsletter on Rock Art (11): 1–2, Comite International d’Art Rupestre, Foix, France. ISSN: 1022-3282.

http://www.icomos.org/centre_documentation/inora/inora11/inora-11.pdf (accessed on 22 April 2017).

Chauvet Cave, Pont d’Arc, Ardeche, France. Europe. RADIOCARBON DIRECT DATING. REPORTING ON THE EARLIEST DATES YET ESTABLISHED FOR UPPER PALEOLITHIC CAVE ART, AT +/- 31,000 B.P.

Charcoal pigments: conventional pretreatment with AMS radiocarbon dating.

LMRAA (PHOTO COPY), MWRBRAD.

Clottes, J., et al., 1995. “Les Peintures Paleolithiques de la Grotte Chauvet—Pont d’Arc (Ardeche, France): Datations Directes et Indirectes par la Methode du Radiocarbone” in Comptes Rendus de l’Academie des Sciences de Paris 321: 1133–1140.

Chauvet Cave, Pont d’Arc, Ardeche, France. Europe. Paleolithic art. Direct dating. Radiocarbon dating.

Biblio.

Clottes, Jean, et al., 2015. “1.6 Les Peintures Paleolithiques de la Grotte Chauvet—Pont d’Arc (Ardeche, France): Datations Directes et Indirectes par la Methode du Radiocarbone” in Une Vie d’Art Prehistorique L’Homme des Origines, 81–88, Editions Jerome Million, Grenoble, France. ISBN: 978-2-84137-318-5.

Chauvet Cave, Pont d’Arc, Ardeche, France. Europe. Paleolithic art. Direct dating. Radiocarbon dating. (Reprint from Comptes Rendus de l’Academie des Sciences de Paris, 1995, 321(2a): 1133–1140).

LMRAA.

Cohen, Claudine, 2003. La Femme des Origines. Images de la Femme dans la Prehistoire Occidentale, 191 pgs, Belin-Herscher, Paris, France. ISBN: 2733503367.

Europe. Gender. Paleolithic art. Female motif(s). Rock features: Statuettes.

Abstract: “L’homme préhistorique était aussi une femme: cette évidence n’avait guère effleuré les premiers préhistoriens, et la question de la place et du rôle de la femme est longtemps restée marginale dans les enquêtes sur la préhistoire. C’est l’” homme préhistorique “, artisan, chasseur, artiste, conquérant, qui a surtout alimenté les débats scientifiques. La femme, elle, fut souvent considérée comme tristement passive et reproductrice, et livrée aux fantasmes, aux mythes inspirés de la Bible, ou aux lieux communs colportés depuis le 19e siècle. Aujourd’hui, la célébrité de “Lucy” et de l’ “Eve africaine “ témoignent d’un intérêt nouveau pour l’existence des femmes depuis les époques recalées du Paléolithique. Il est temps, en effet, de s’intéresser à cet acteur essentiel du monde de nos origines, et de donner une visibilité à cette moitié de l’humanité prétendument “ invisible “ aux archéologues. Cet ouvrage interroge de façon critique l’histoire des idées et des preuves - en particulier celles tirées des somptueuses représentations de femmes dans l’art préhistorique - pour tenter de dessiner une image plus vivante et plus vraie de nos lointaines ancêtres.”

LMRAA, Biblio.

Cohen, Claudine, 2007. “L’Art Rupestre et les Rôles de la Femme au Paléolithique” in XXII Valcamonica Symposium 2007: Rock Art in the Framework of the Cultural Heritage of Humankind, Papers/l’Arte Rupestre nel Quadro del Patrimonio Culturale dell’Umanità Pre Atti, 18–24 Maggio 2007, Centro Congressi, Darfo Boario Terme, E. Anati, ed., 99–106, Edizioni del Centro, Capo di Ponte, Italy.

http://www.ccsp.it/web/INFOCCSP/VCS%20storico/vcs2007pdf/cohen.pdf (accessed on 7 May 2017).

Europe. Paleolithic art. Female. Gender.

Abstract: “The question of the place and functions of women remained for long time marginal in Prehistoric archaeology inquiries. For most of the time in this field of research, only “Prehistoric Man” was the object of scientific debates while women remained the object of fantasies or commonplaces. The reason was, prehistorians claimed, that archaeological material does not yield enough details to identify clearly gender’s specific activities. Therefore, for a long time, prehistoric women were said to be “archaeologically invisible”. However, Palaeolithic rock art and portable art provide many elements for a reflection on the place of women in that early period of human prehistory. Many images of women, quite varied and sometimes beautiful, have been found in the Upper Palaeolithic European sites. From the Atlantic shore to the Don Valley, paintings, engravings or relieves with women figures, realistic or stylized representations of vulvas, and perhaps of sexual scenes, “Venuses” with slender or full bodies, produced many speculations. Some interpreters saw in them the expression of hunting and fertility rituals, or even the blunt expression of male libido, the prehistoric equivalent of our pornography. Other archaeologists saw in them the evidence for primitive matriarchate or for a religion of the Great Goddess. At the centre of these debates remains the question of identifying the artist: did Palaeolithic women paint , carve, and use these images? To what extent can Palaeolithic art, along with other prehistoric remains, give us clues to answer this question?”

Internet.

Cohen, Claudine, 2010–2011. “Qui est l’Artiste? Art Paléolithique et Différence des Sexes” in Symposium 1: L’Art Pléistocène dans le Monde Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 26–27, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Gender.

Dialnet.

Cohen, Claudine, 2016. Femmes de la Prehistoire Collection Histoire, Editeur Belin, Paris, France.

Europe. Female motif(s). Gender.

Abstract: “Chercher les femmes, au-delà des idées reçues et des stéréotypes échevelés qui ont régné des décennies durant: tel est le propos de ce livre. Aujourd’hui, de nouvelles découvertes et de nouveaux questionnements rendent enfin visibles ces femmes qui vécurent aux temps lointains de la Préhistoire, de l’aube du Paléolithique jusqu’aux confins de l’âge du fer. Que savons-nous des transformations évolutives de leurs corps et de leur apparence? Quelles images les Préhistoriques nous en ont-ils laissées? Comment penser le rôle de ces femmes dans la reproduction et la famille? Quelles preuves pouvons-nous avoir de leurs tâches quotidiennes, de leurs réalisations techniques, de leurs talents artistiques? De quels savoirs, de quels pouvoirs disposaient-elles? Revenant sur les figures magnifiées et mythiques de la matriarche ou de la Déesse, Claudine Cohen s’interroge aussi sur les rapports de domination, de violence, d’exploitation que les femmes ont pu endurer dans ces sociétés du passé. En éclairant sous un angle neuf la vie matérielle, familiale, sociale, religieuse des mondes de la Préhistoire, cet ouvrage vise à ancrer la réflexion actuelle sur la différence des sexes et le statut social des femmes jusque dans la profondeur des millénaires.”

Biblio, Internet.

Cole, Noelene, Menu, Michel and Walter, Phillipe, 1990 (May). “New Light on the Niaux Paintings” in Rock Art Research 7: 21–26, Australian Rock Art Research Association, Melbourne, Australia. ISSN: 0813-0426.

Niaux, Ariege, Haute Pyrenees, France. Europe. PALEOLITHIC ART. PIGMENT ANALYSIS. DATING. PAINT RECIPES.

LMRAA.

Collado Giraldo, H., 2006. Arte Rupestre en la Cuenca del Guadiana. El Conjunto de Grabados del Molino Manzanez (Alconchel-Cheles) Memorias d’Odiana No. 4, Estudos Arqueologicos do Alqueva, EDIA, Beja, Portugal.

http://independent.academia.edu/HipoltioCollado/Books (accessed on 19 January 2013).

Cuenca del Guadiana, Molino Manzanez, Alconchel-Cheles, Extremadura, Spain, Portugal. Europe. Paleolithic art. Open air sites.

Abstract: “This book present the open air rock art in Molino Manzanez (Guadiana valley) in Extremadura region (SW of Spain). In this place were discovered over 5000 engravings (animals, human figures, symbols, weapons, etc. from Palaeolithic age to contemporary period.”

RASNW4, Internet.

Collado Giraldo, Hipolito, 2008. “De Maltravieso al Valle del Guadiana. Un Repaso al Arte Rupestre Paleolítico de Extremadura” in Actas del Congreso “El Mensaje de Maltravieso 50 Años después (1956-2006), Primitivo Javier Sanabria Marcos, ed. Memorias del Museo de Cáceres, vol. 8: 27–56, Junta de Extremadura, Consejeria de Cultura y Turismo, Caceres, Spain. I.S.B.N.: 978-84-9852-151-1.

https://www.academia.edu/1158920/DE_MALTRAVIESO_AL_VALLE_DEL_GUADIANA._UN_REPASO_AL_ARTE_RUPESTRE_PALEOLITICO_EN_EXTREMADURA (accessed on 29 April 2014).

Maltravieso Cave, Valle de Guadiana, Cáceres, Extremadura, Spain. Europe. Paleolithic art.

Abstract: “Estudio de los enclaves con arte rupestre en la región de Extremadura con los últimos datos sobre las investigaciones realizadas en los mismos.”

Academia.edu.

Collado Giraldo, Hipólito, 2010–2011. “Análisis de las Representaciones Paleolíticas de la Cueva de Maltravieso a Partir de su Distribución Topográfica” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 322–323, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Cueva de Maltravieso, Caceres, Spain. Europe. Paleolithic art. Topographic distribution.

Abstract: “En este trabajo se aborda un nuevo análisis de las representaciones paleolíticas de la Cueva de Maltravieso (Cáceres, España) en relación con el ámbito de la cueva en el que aparecen. Se tienen en consideración los nuevos hallazgos realizados desde la última revisión completa del año 1996 (Ripoll et al. 1999) y desde un punto de vista interpretativo se interrelaciona la distribución topográfica con las características técnicas de los diferentes motivos paleolíticos conservados en la cavidad cacereña.”

Dialnet.

Collado Giraldo, Hipolito, 2012. “Primeras Manifestaciones de Arte Rupestre Paleolitico: El Final de las Certidumbres” in Creativity and Cognitive Neuroscience/Creatividad y Neurosciencia Cognitiva, 135–169.

https://www.academia.edu/2221952/PRIMERAS_MANIFESTACIONES_DE_ARTE_RUPESTRE_PALEOLITCO_EL_FINAL_DE_LAS_CERTIDUMBRES (accessed on 29 April 2014).

World. Paleolithic art.

Abstract: “En este artículo se realiza un repaso sobre las manifestaciones de arte rupestre cuyo contexto cronológico supera la fecha de 30.000 años BP, en un recorrido que comienza con los que hasta la fecha son considerados los grabados más antiguos del mundo, documentados en el continente indio, que superan los 200.000 años de antigüedad, y continúa con diversos ejemplos recogidos en África, Australia y Suramérica. El último apartado se centra en el continente europeo (Francia, Italia y España) haciendo referencia a varios conjuntos gráficos contextualizados entre los momentos finales del Paleolítico Medio y los comienzos del Paleolítico Superior.”

Academia.edu.

Giraldo, H., 2012. “Analisis de las Representaciones Paleoliticas de la Cueva de Maltravieso a Partir de su Distribucion Topograpfica” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 322-323, CD: 1883-1897, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

https://www.academia.edu/1137076/ANALISIS_DE_LAS_REPRESENTACIONES_PALEOLITICAS_DELA_CUEVA_DE_MALTRAVIESO_A_PARTIR_DE_SU_DISTRIBUCION_TOPOGRAFICA (accessed on 29 April 2014).

Cueva de Maltravieso, Caceres, Spain. Europe. Paleolithic art. Topographic distribution.

Abstract: “This paper presents a new analysis of paleolithic art in Maltravieso cave (Cáceres, Spain) in relation to the place where this rock art appear. New discoveries since 1996(Ripoll et al. 1999) are take into consideration. From an interpretive rock art point of view, the topographic distribution of rock art is related to the techniques of Maltravieso cave.”

Biblio, LMRAA, Biblio, Academia.edu.

Collado Giraldo, Hipolito, 2015. “Art in the Beginning: Rock Art in Southwest Europe” in The Genesis of Creativity and the Origins of the Human Mind, Barbora Puta and Soukup Vaclav, eds., 187–210, Charles University in Prague, Karolinum Press, Czech Republic. ISBN: 978-80-246-2677-2.

Iberian Peninsula. Southwest Europe. Paleolithic art. Mobiliary (portable) art. Rock art.

LMRAA.

Collado, H. and Ripoll, S., 1996. “Una Nueva Estacion Paleolitica en Extremadura. Los Grabados de la Cueva de la Mina de Ibor (Castanar de Ibor, Caceres)” in Revista de Estudios Extremenos 52: 383–399, Centro de Estudios Extremeños, ISSN: 0210-2854.

Cueva de la Mina de Ibor, Castanar de Ibor, Caceres, Extremadura, Spain. Europe. Paleolithic art.

Biblio.

Collado Giraldo, H. and Ripoll Lopez, S., 1997 (August). “La Cueva de la Mina de Ibor. Arte Paleolitico en Extremadura” in Revista de Arqueologia XVIII(196): 24–29, Zugarto Ediciones, Madrid, Spain. ISSN: 0212-0062.

La Cueva de la Mina de Ibor, Extremadura, Spain. Europe. Paleolithic art.

RASNW2.

Collado Giraldo, Hipólito and Ripoll López, Sergio, 1999. “Arte Rupestre Paleolítico en Extremadura” in Actas del XXIV Congreso Nacional de Arqueologia, Cartagena, 1997, vol. 1: 269–276, Gobierno de la Región de Murcia, Instituto de Patrimonio Histórico, ISBN: 84-88570-26-0.

Extremadura, Spain. Europe. Paleolithic art.

Dialnet

Collado, Hipólito, Sala, Nohemi, Algaba, Milagros, Arsuaga, Juan Luis, García, José Julio, Domínguez, Isabel, Nobre, Luis F.Rodríguez, Lázaro, Torrado, José Manuel, Villalba, Mónica, González, Jairo, Domíngez, Ángel, García, Elena, Garrido, Elena, Bea, Manuel, Angas, Jorge and Mas, Martí, 2016. “A Vueltas con las Primeras Manifestaciones de Arte Rupestre Paleolítico: Los Grabados de la Cueva de La Zarzamora (Perogordo, Segovia)” in Cuadernos De Arte Prehistórico 2: 32–69, Centro de Arte Rupestre Moratalla, ISSN: 0719-7012.

http://www.cuadernosdearteprehistorico.com/gallery/2%20oficial%20articulo%20dr.%20hipolito%20%20collado%20et%20al%20num%202%202016.pdf (accessed on 16 July 2017).

Cueva de la Zarzamora, Perogordo, Segovia, Spain. Europe. Paleolithic art. Neanderthal.

Abstract: “Advances in methods of dating Cave Art are allowing us to deepen every time more on the knowledge and possible authorship of the first graphic manifestations of the Upper Paleolithic. In this article, we want to join the tribute to our friend Vicente Baldellou, we go back to the study of the main panel of paleolithic engravings which we documented in 2012 in the Segoviana cave of La Zarzamora, within the framework of a research project cofinanced by the Board of Castilla y Leon and under the scientific direction of Nohemí Sala, Milagros Algaba and Juan Luis Arsuaga.”

Internet.

Collado, H., et al., 2003. “Paleolithic Rock Art in Molino Manzanez Area (Alconchel-Cheles, Badajoz, Spanien)” in Quartar (20): 1–21, Bonn, Germany.

Molino Manzanez, Alconchel-Cheles, Badajoz, Spain. Europe. Paleolithic art.

RASNW3.

Collison, D. and Hooper, A., 1976. “Nouvelles Informations sur la Grotte des Eglises a Ussat (Ariege)” in Bulletin de la Societe Prehistorique de l’Ariege 31: 13–20.

Grotte des Eglises a Ussat, Ariege, France. Europe. Paleolithic art.

Biblio.

Collison, David and Hooper, Alex, 1976. “L’Art Paléolithique de la Grotte des Églises à Ussat (Ariège)” in Gallia Préhistoire 19: 221–238, Centre National de la Recherche Scientifique (CNRS Editions), Paris, France. eISSN: 2109-9642.

http://www.persee.fr/web/revues/home/prescript/article/galip_0016-4127_1976_num_19_1_1527 (accessed on 25 October 2011).

Grotte des Églises à Ussat, Ariège, France. Europe. Paleolithic cave art. Tectiform, horse, ibex motif(s).

Persee, Biblio.

Comba, Enrico, 2010–2011. “Mixed Human-Animal Representations in Palaeolithic Art: An Anthropological Perspective” in Symposium 8. L’Art Mobilier Pléistocène Préhistoire, Art et Sociétés: Bulletin de la Société Préhistorique de l’Ariège, vol. 65–66: 318–319, Société Préhistorique de l’Ariège, Tarascon, France. ISSN: 1954-5045.

Europe. Paleolithic art. Human - animal motif(s).Therianthrope.

Abstract: “Palaeolithic art, particularly cave art, is largely dominated by animal representations, described in a remarkable naturalistic and detailed style. This has led to an interpretation of this art as simply a description of the “natural” environment surrounding prehistoric hunter-gatherers. But a number of images and three-dimensional objects are more problematic, because they show not a “realistic” description of natural beings, but hybrid figures in which human and animal characteristics are mingled and interwoven. Taking into consideration some widespread cultural representations of hunter-gatherers (especially from the Americas), the scholar is solicited to put into question the usual opposition between a “nature” out there and a “culture”, identified with the world of humans, and consequently the clear boundary line separating humankind from the other animal species. Rather, in the Amerindian mythologies we can find a universal notion of an original undifferentiation between humans and animals: the original condition of both animals and men is not conceived as animality but as humanity. Each species is an envelope concealing an internal human form, visible only to those persons having special powers. The world is a highly transformational one, in which the changing of form and aspect is always possible. Perhaps these considerations can suggest a more complex and fruitful approach to Palaeolithic art, in which the scholar must be careful not to project on the peoples of the prehistoric past some of the selfevident oppositions derived from our own cultural background, such as nature/culture, human/animal, real/fantastic, and so forth.”

Dialnet.

Comba, E., 2012. “Mixed Human-Animal Representations in Palaeolithic Art: An Anthropoloigical Perspective” in L’Art Pleistocene dans le Monde / Actes du Congres IFRAO, Tarascon-sur-Ariege, September 2010, Jean Clottes, ed. Bulletin de la Societe Prehistorique Ariege-Pyrenees, Vol. LXV-LXVI:Book: 318–319, CD: 1853–1969, Societe Prehistorique Ariege-Pyrenees, Tarascon-sur-Ariege, France. ISBN: 0245-9523 ISBN: 987-2-9531148-3-6.

Europe. Paleolithic art. Human - animal motif(s).

Biblio, LMRAA.

Combier, J., 1981. “La Protection des Grottes Isolees” in Grottes Ornees Monuments Historiques, no. Special, 65–74.

France. Europe. Paleolithic art. Cultural resource management. Conservation and preservation.

UVAP.

Combier, J., 1984. “La Grotte d’Oulen” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 327–332, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte d’Oulen, Ardeche, Elle, France. Europe. Paleolithic cave art.

Biblio, LMRAA.

Combier, Jean, 1984. “Grotte du Colombier I” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 617–620, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Colombier, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc and Labastide-de-Virac, France. Europe. Paleolithic cave art. Mammoth, bull, bison, bovid, ibex, antelope, saiga (cervid), horse, anthropomorhic head, lines, ovals, fish motif(s). Small images, difficult to see.

Biblio, LMRAA.

Combier, Jean, 1984. “Grotte de la Tete-du-Lion” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 595–599, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Tete-du-Lion, Rhone-Alpes, Ardeche, Bidon, France. Europe. Paleolithic cave art. Bovid, ibex, dots motif(s).

Biblio, LMRAA.

Combier, Jean, 1984. “La Grotte Chabot” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 317–322, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Chabot, Ardeche, France. Europe. Paleolithic cave art.

Biblio, LMRAA.

Combier, Jean, 1984. “Grotte d’Ebbou” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 609–616, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Ebbou, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc, France. Europe. Paleolithic cave art. Horse, ibex, bovid, auroch, animal motif(s).

Biblio, LMRAA.

Combier, Jean, 1984. “Baume de Bouchon” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 626–627, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Baume de Bouchon, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc, France. Europe. Paleolithic cave art.

Biblio, LMRAA.

Combier, Jean, 1984. “Grotte du Figuier” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 600–604, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte du Figuier, Rhone-Alpes, Saint-Martin-d’Ardeche, France. Europe. Paleolithic cave art. Bison, geometric lines, ibex motif(s).

LMRAA.

Combier, Jean, 1984. “Grotte Huchard” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 605–606, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Huchard, Rhone-Alpes, Saint-Martin-d’Ardeche, France. Europe. Paleolithic cave art. Bison, mammoth, lines motif(s).

LMRAA.

Combier, Jean, 1984. “Grotte Sombre” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 607–608, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte Sombre, Rhone-Alpes, Saint-Martin-d’Ardeche, France. Europe. Paleolithic cave art. Signs motif(s).

LMRAA.

Combier, J., 1984. “Grottes Ornees de l’Ardeche” in Les Premiers Artistes Derniers Chasseurs de la Prehistoire. Lascaux, Altamira, Lex Eyzies, Niaux, Roufignac Les Dossiers Histoire et Archeologie, (87): 80–86, Editions Faton, Dijon, France.

Ardeche, France. Europe. Paleolithic art.

LMRAA.

Combier, J., 1989. “A propos de la Chronologie de l’Art Parietal Rhodanien” in L’Art Parietal Paleolithique. Etude et Conservation. Colloque International, Perigueux—Le Thot, 19–22 November 1984 Actes des Colloques de la Direction du Patrimoine, 115–116, Ministere de la Culture de la Communication des Grands Travaux et du Bicentenaire, Sous-Direction de l’Archeologie, Centre National de Prehistoire Mission des Relations Exterieures.

Rhone Valley, France, Europe. Prehistoric art. Paleolithic art. Chronology. With disscussion by G. Delluc.

LMRAA.

Combier, Jean, 1995 (December–January). “Les Grottes de l’Ardeche. Au Centre de Nouvelles Recherches sur l’Art Parietal” in L’Art Prehistorique Les Dossiers de Archéologie, (209): 66–85, Editions Faton, Dijon, France. ISSN: 1141-7137.

Ardeche, France, Europe. Paleolithic art.

LMRAA.

Combier, J., Drouot, E. and Huchard, P., 1958. “Les Grottes Solutreennes a Gravures Parietales du Canyon Superieur de l’Ardeche” in Memoires de la Societe Prehisorique Francaise, vol. T. V.: 61–117, Societe Prehistorique Francaise.

Ardeche, France. Europe. Solutrean art. Paleolithic art.

Biblio.

Combier, Jean and Porte, Jean-Louis, 1984. “Grotte de Mezelet” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 630–631, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de Mezelet, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc, France. Europe. Paleolithic cave art. Indistinct form motif(s).

LMRAA.

Combier, Jean, Porte, Jean-Louis, Ayrolles, Pierre and Gely, Bernard, 1984. “Abri du Colombier” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 621–625, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Abri du Colombier, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc, France. Europe. Paleolithic cave art. Ibex, oval sign motif(s).

Biblio, LMRAA.

Combier, Jean and Roudil, Jean-Louis, 1984. “Grotte de la Vacheresse” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 632–633, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte de la Vacheresse, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc, France. Europe. Paleolithic cave art. Horse motif(s).

LMRAA.

Combier, Jean and Taupenas, Georges, 1984. “Grotte du Deroc” in L’Art des Cavernes. Atlas des Grottes Ornees Paleolithiques Francaises, A. Leroi-Gourhan, ed., 628–629, Ministere de la Culture: Imprimerie Nationale, Paris, France. ISBN-10: 2110808179 ISBN-13: 978-2110808172.

Grotte du Deroc, Rhone-Alpes, Ardeche, Vallon-Pont-d’Arc, France. Europe. Paleolithic cave art. Dot motif(s).

LMRAA.

Conard, N., 2003. “Palaeolithic Ivory Sculptures from Southwestern Germany and the Origins of Figurative Art” in Nature (426): 830–832, Nature Publishing Group, ISSN: 0028-0836 eISSN: 1476-4687.

Southwestern Germany. Europe. Paleolithic art. Ivory sculpture. Mobiliary (portable) art. Figurative art.

RASNW3.

Conard, N.J., 2005. “Aurignacian Art in Swabia and the Beginnings of Figurative Representation in Europe” in Pitture Paleolitiche nelle Prealpi Venete: Grotta di Fumane e Riparo Dalmeri, 82–88, Museo Civico di Storia Naturale di Verona and Museo Tridentino di Scienze Naturali, Verona, Italy.

Swabia (Bavaria), Germany. Europe. Paleolithic art. Aurignacian. Figurative representation.

IIA.

Conard, N.J., 2009. “A Female Figurine from the Basal Aurignacian of Hohle Fels Cave in southwestern Germany” in Nature 459: 248–252.

Hohle Fels Cave, southwestern Germany. Europe. Paleolithic art. Aurignacian. Mobiliary (portable) art. Female figure motif(s).

RASNW4.

Conard, Nicholas J. and Floss, Harold, 1999. “Une Pierre Peinte du Hohle Fels (Baden-Württemberg, Allemagne) et la Question de l’ Art Pariétal Paléolithique en Europe Centrale” in Paléo, Revue d’Archéologie Préhistorique 11: 167–176, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://www.persee.fr/web/revues/home/prescript/article/pal_1145-3370_1999_num_11_1_1252 (accessed on 19 November 2011).

Baden, Wurttemberg, Germany. Europe. Paleolithic art. Mobiliary (portable) art. Magdalenian.

Abstract : “A painted stone from Hohle Fels cave (Baden-Wùrttemberg, Germany) and the question of paleolithic parietal art in Central Europe. Due to weathering and breakdown caused by strong fluctuations in temperature and moisture during the Late Quaternary, the original wall surfaces of German Paleolithic cave sites are rarely preserved. This situation has hindered the discovery of parietal art in the region. However, during the 1998 excavation of the Magdalenian layer 1k at Hohle Fels Cave near Schelklingen, a painted fragment of the wall of the cave was recovered. This find of 76 x 59 x 17 mm provides the strongest evidence for wall painting thus far documented in Germany. The piece counts among a small number of possible indications for Paleolithic parietal art in central Europe. The archaeological layer from which the find was excavated is radiocarbon dated to ca. 13,000 BP, and based on stylistic comparisons with parietal and mobile art, the painted wall fragment appears to be of Magdalenian age. The fragment depicts two double rows of small red points. One double row includes seven pairs of points, while the other truncated double row preserves four pairs of points. This truncation clearly shows that the find was part of a larger composition. The painted wall fragment from Hohle Fels confirms the existence of Magdalenian paintings in the region and provides further evidence for a measure of stylistic continuity between the Magdalenian and Final Paleolithic. While it cannot be excluded that the painting occurred after the fragment fell from the wall and thus represents mobile art, the find provides the best evidence to date for parietal art in Germany.”

Internet. Persee, Refdoc.fr.

Conard, N. and Floss, H., 2001. “Une Statuette en Ivoire de 30,000 ans BP Trouvee au Hohle Fels pres de Schelklingen (Baden-Wurttemberg, Allemagne)” in Paléo, Revue d’Archéologie Préhistorique, 13: 241–244, Musée National de Préhistoire, Société des Amis du Musée National de Préhistoire et de la Recherche Archéologique (SAMRA), Les Eyzies de Tayac, France. eISSN: 2101-0420.

http://paleo.revues.org/index1077.html (accessed on 19 November 2011).

Hohle Fels Cave, Baden, Wurttemberg, Germany. Europe. Paleolithic art. Ivory. Mobiliary (portable) art.

Abstract: “In 1999 researchers from the University of Tübingen recovered an animal head carved from mammoth ivory from Hohle Fels Cave near Schelklingen in southwestern Germany. This figurine resembles a horse and was found in Geological Horizon 3d which lies between rich Gravettian and Aurignacian deposits. Two radiocarbon dates from the immediate vicinity of the piece date around 30,000 years BP. Hohle Fels, along with Vogelherd, Hohlenstein-Stadel and Geißenklösterle, is the forth site from the Swabian Jura to yield ivory figurines dating to the early phases of the Upper Paleolithic. This complex of finds includes artworks that are among the oldest known worldwide and is of unique importance for reconstructing the cultural evolution of the period of the last Neanderthals and earliest modern humans in Europe.”

RASNW3, Revues.

Conard, N.J. and Uerpmann, H.-P., 2000. “New Evidence for Paleolithic Rock Painting in Central Europe” in Current Anthropology 41: 853–856, ISSN: 00113204, 15375382.

Central Europe. Paleolithic art.

Abstract: “Despite Paleolithic research dating back to the 1860s, little evidence for parietal art has been documented in the caves of Central Europe. However, on August 3, 1998, Patrick Russel, a member of the excavation team at Hohle Fels cave, located near Schelklingen, Germany (fig. 1), recovered a painted rock fragment from an archaeological horizon containing abundant Magdalenian artifacts. The find was photographed in situ and belongs to geological stratum 1k. This fragment of limestone preserves a double row of seven and a truncated double row of four dark-red, subcircular dots and provides new evidence for rock paiting in Central Europe. While an earlier age cannot be ruled out, stylistic and contextual arguments suggest that the depiction dates to the Magdalenian (Conard and Floss 1999). The rich Magdalenian layers of Hohle Fels are well documented and date to ca. 13,000 b.p. (Blumentritt and Hahn 1991, Housley et al. 1997, Conard and Uerpmann 1999).”

Biblio, Refdoc.fr.

Conkey, M., 1978. “Style and Information in Cultural Evolution. Toward a Predictive Model for the Palaeolithic” in Social Archaeology, C. Redman, ed., 61–85, Academic Press, New York, New York.

Europe. Paleolithic. Style. Cultural evolution.

Biblio.

Conkey, M.W., 1980. “The Identification of Prehistoric Hunter-Gatherer Aggregation Sites: The Case of Altamira” in Current Anthropology 21: 609–630, Wenner-Gren Foundation for Anthropological Research, ISSN: 00113204, 15375382.

Altamira, Santander, Spain. Europe. Paleolithic art. Hunter-gatherer sites.

Biblio, PRANSA, RASNW3.

Conkey, M.W., 1980. “Context, Structure, and Efficacy in Palaeolithic Art” in Symbols as Sense: New Approaches to the Analysis of Meaning, M.L. Foster and S.J. Brandes, eds., 225–248, Academic Press, New York, New York.

Europe. Paleolithic art.

Biblio.

Conkey, Margaret W., 1981. “A Century of Palaeolithic Cave Art” in Archaeology, 20–28, Archaeological Institute of America, New York, New York.

Altamira, Cantabria, Spain. Europe. PALEOLITHIC (ICE AGE) CAVE ART. AUTHOR REVIEWS 100 YEARS OF ROCK ART STUDY AND THE DEVELOPMENT OF VARIOUS ANALYTIC APPROACHES TO UNDERSTANDING THE MEANING OF THE ART. DESIGN STRUCTURAL ANALYSIS.

RCSL (PHOTO COPY), IAAL.

Conkey, Margaret W., 1983. “On the Origins of Palaeolithic Art: a Review and Some Critical Thoughts” in The Mousterian Legacy. Human Biocultural Change in the Upper Pleistocene, Erik Trinkaus, ed. British Archaeological Reports (BAR) International Series, (164): 201–227, Archaeopress, Publishers of British Archaeological Reports, Oxford, England.

Europe. UPPER PALEOLITHIC ART AND ITS IMPLICATIONS FOR UNDERSTANDING THE TRANSITION FROM MIDDLE TO UPPER PALEOLITHIC DEVELOPMENT.

RCSL (REPRINT), RASNW3.

Conkey, M.W., 1985. “Ritual Communication, Social Elaboration and the Variable Trajectories of Paleolithic Material Culture” in Prehistoric Hunter-Gatherers: The Emergence of Social and Cultural Complexity, T.D. Price and J.A. Brown, eds., 299–323, Academic Press, New York, New York.

Europe. Paleolithic. Material culture.

IIA.

Conkey, M.W., 1989. “The Structural Analysis of Paleolithic Art” in Archaeological Thought in America, C.C. Lambergh-Karlovsky, ed., 135–154, Cambridge University Press, Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, Massachusetts.

Paleolithic cave art.

Biblio.

Conkey, Margaret W., 1990. “L’Art Mobilier et l’Etablissement de Geographies Sociales” in L’Art des Objets au Paléolithique, vol. 2, Les Voies de la Recherche, Actes du Colloque de Foix-Le Mas d’Azil, 16-21, Nov. 1987, Jean Clottes, dir., 163–172, Ministère de la Culture, Paris, France. ISBN: 2-11-085550-9.

Europe. Paleolithic art. Mobiliary (portable) art.

LMRAA.

Conkey, Margaret W., 1996. “Chapter 11. A History of the Interpretation of European ‘Palaeolithic Art’: Magic, Mythogram, and Metaphors for Modernity” in Handbook of Human Symbolic Evolution, Andrew Lock and Charles R. Peters, eds., 288–349, Clarendon Press, Oxford, England.

Europe. Paleolithic art. Rock art studies. History of interpretation.

Abstract: “While ‘palaeolithic art’ has a worldwide distribution, its interpretation has been essayed on the basis of the rich sites of south-western Europe. Interpretations of these sites and their images are embedded on the presuppositions of their period of discovery . . . . At present, it has become appreciated that ‘palaeolithic art’ is polysemic, and no monolithic interpretation is possible.”

LMRAA (photo copy).

Conkey, Margaret W., 1997. “Beyond Art and Between the Caves: Thinking About Context in the Interpretive Process” in Beyond Art. Pleistocene Image and Symbol Memoirs of the California Academy of Sciences, (23): 343–367, California Academy of Sciences, San Francisco, California.

EUROPE. UPPER PALEOLITHIC. ROCK ART STUDIES: INTERPRETIVE HISTORIES AND PROCESSES. CONTEXT. RESEARCH METHODOLOGY AND THEORY.

LMRAA.

Conkey, Margaret W., 1999. “Experiencing the Grotte Chauvet” in Berkeley Archaeology 7: 1,3–4, Archaeological Research Facility, University of California, Berkeley, California.

Chauvet Cave, Ardeche, France. Europe. Paleolithic cave painting.

LMRAA (photo copy).

Conkey, Margaret W., 2000. “A Spanish Resistance? Social Archaeology and the Study of Paleolithic Art in Spain” in Journal of Archaeological Research 56: 77–93.

Spain. Europe. Ways in which “social archaeology” from the Anglo-American archaeological tradition has influenced Spanish studies of Paleolithic art. Rock art studies. History of research. Theoretical vs. empirical research.

LMRAA (Photo copy).

Conkey, Margaret W., 2001. “Chapter 10: Hunting for Images, Gathering up Meanings: Art for Life in Hunting Gathering Societies” in Hunter-Gatherers. An Interdisciplinary Perspective, Catherine Panter-Brick, Robert H. Layton and Peter Rowley-Conwy, eds. Biosocial Society Symposium Series, (13): 267–291, Cambridge University Press, Cambridge, England.

Europe. Paleolithic art. “current concerns are more with what ‘art’ is or was, and, even more challenging, with how to interpret or understand the visual and material worlds of “art’ “Analytical and interpretive approaches to understanding hunter-gatherer art, and the political and ethical issues involved. Image making as an ongoing cultural process. “the category of ‘art’ and the category of ‘hunter-gatherer’ are fluid and qualified“ Ethnograhpy. Ethnohistory. Review of interpretive frameworks. Social motivations. Gender.

LMRAA (Photo copy).

Conkey, Margaret W., 2009. “Materiality and Meaning-Making in the Understanding of the Paleolithic “Arts’ “ in Becoming Human: Innovation in Prehistoric Material and Spiritual Culture, 179–194, Cambridge University Press, Cambridge, England. ISBN-10 0521734665, ISBN-13 978-0-521-73466-0.

Europe. Upper Paleolithic art. Semiotics. How do the Paleolithic images, set in their material context, infer culture making experiences?

LMRAA, Biblio.

Conkey, Margaret W., 2010. “Thinking Strings: On Theory, Shifts and Conceptual Issues in the Study of Palaeolithic Art” in Seeing and Knowing. Understanding Rock Art with and without Ethnography, G. Blundell, C. Chippendale and B. Smith, eds., 198–213, Wits University Press, Johannesburg, South Africa. ISBN: 978-1-86814-513-3.

Europe. Paleolithic art. Theory. Theory making. Social archaeology. Palimpset.

LMRAA.

Conkey, M.W., 2010. “Images Without Words: The Construction of Prehistoric Imaginaries for Definitions of ‘Us’” in Journal of Visual Culture 9: 272–283, ISSN: 1470-4129.

http://vcu.sagepub.com/content/9/3/272.full.pdf+html (accessed on 5 September 2013).

Europe. Paleolithic art. Interpretation.

Abstract: “How can a body of visual images without any accompanying texts or words possibly be understood? In addressing some of the issues in the interpretation and understandings of the ‘art’ of Ice Age or Paleolithic Europe, we face a conundrum different from other corpuses of visual imagery. In a non-literate, mobile hunting—gathering society such as it was some 20,000 years ago, the images may have had more, not less, cultural significance even if the cave art was not likely to have been seen by many. Furthermore, in our attempts to read the images, the modern representations of them in photos and drawings, and the very selection of which images to depict in books and other media play a more crucial role in our interpretations than do the original images that are not easy to access. This article addresses the ironies of images without words, images that have profound status as evidence over time and space despite the fact that so many archaeologists have not taken them seriously.”

Biblio, Internet.

Conkey, Margaret W., Soffer, Olga, Stratmann, Deborah and Jablonski, Nina G., 1997. Beyond Art. Pleistocene Image and Symbol Memoirs of the California Academy of Sciences, (23): 378 pgs, California Academy of Sciences, San Francisco, California.

EUROPE. AFRICA. WORLD. Pleistocene (Paleolithic) art. LATE PLEISTOCENE AND HOLOCENE IMAGERY. COLLECTION OF PAPERS FROM BOTH THE FIRST OREGON ARCHAEOLOGICAL RETREAT, 1993 and THE SECOND PAUL L. AND PHYLLIS WATTIS FOUNDATION ENDOWMENT SYMPOSIUM, 1995.

LMRAA.

Contenson, H. de, 1949–1950. “Nouvelles Emprientes de Pas Humains Prehistoriques dans la Grotte de Niaux” in La Nouvelle Clio, 292–293, Henri Grégoire, Brussels, Belgium.

Niaux, Ariege, Haute Pyrenees, France. Europe. Paleolithic art.

UVAP.

Cook, A.-B., 1903. “Les Galets Peints du Mas d’Azil” in Anthropologie, 655–660, Moravské Muzeum, Brno, Czech Republic. ISSN: 0323-1119.

Mas d’Azil, France. Europe. Paleolithic art. Paint rollers (pigment application).

ARP.

Cook, Jill, 2013. Ice Age Art: Arrival of the Modern Mind, 288 pgs, British Museum Press, London, England. ISBN-10: 0714123331; ISBN-13: 978-0714123332.

France, Russia, Czech Republic. Europe. Mobiliary (portable) art. Paleolithic art. Museum exhibition catalog.

Abstract: “This unique book explores the extraordinary sculpture and drawings created during the last European Ice Age, between 40,000 and 10,000 years ago the oldest known figurative art in the world. Over 100 objects are featured alongside stunning illustrations, including small but exquisite sculptures made from mammoth ivory, engraved drawings, and jewellery from the age of the great painted caves, in addition to celebrated masterpieces. Featured are the “Swimming Reindeer” (13,000 years old), the so called “Willendorf Venus” (25,000 years old) and the “Vogelherd horse” (32,000 years old), examining them in a new light. This compelling narrative is also illustrated with a wealth of contextual images, from classical sculpture to twentieth century painting and even contemporary advertising campaigns, which demonstrate surprising aesthetic parallels between these ancient works and familiar modern pieces. In this way, “Ice Age Art” will bring home the point that the minds that created these objects in all their diversity and inventiveness were modern minds like our own, capable of highly sophisticated thought and expression.”

Internet, LMRAA.

Cooke, A., Tripp, A. and von Petzinger, G., 2014. “Art, Paleolithic” in Encyclopedia of Global Archaeology, Claire Smith, ed. Archaeology of Art, J. McDonald, I. Domingo, D. Fiore, and T. Heyd, eds., 529–539, Springer, New York, New York. ISBN: 978-1-4419-0426-3.

Paleolithic art.

Biblio.

Corchón Rodriguez, M.a Soledad, 1974. “El Tema de los Trazos Pareados en el Arte Mueble Cantabrico” in Zephyrus: Revista de Prehistoria y Arqueología 25: 197–207, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/view/1931/1987 (accessed on 2 December 2011).

Cantabria, Spain. Europe. Mobiliary (portable) art. Paleolithic art. Twin outline motif(s).

Abstract: “El estudio de los trazos vareados en el arte mueble cantábrico ofrece un atractivo especial ya que se trata de uno de los escasos testimonios de decoración no figurativa dotado de una cronología precisa. Si a ello añadimos su relativa abundancia y tipismo en las manifestaciones artísticas tanto parietales como muebles, se comprende mal el escaso interés que ha suscitado entre los investigadores del arte paleolítico.”

Biblio, Internet.

Corchón Rodriguez, Soledad, 1986. Arte Mueble Paleolitico Cantabrico: Contexto y Analisis Interno Centro de Investigacion y Museo de Altamira Monografias, (16): 482 pgs, Ministerio de Cultura, Direccion General de Bellas Artes y Archivos, Subdireccion General de Arqueologia y Etnograpfia, Madrid, Spain. ISBN: 84-505-6788-2.

Cantabria, Spain. Europe. Mobiliary (portable) art. Paleolithic art. Aurignacian. Gravettian. Solutrean. Magdalenian. Typology. Naturalistic, schematic, stylized. Sign, animal motif(s).

Biblio, LMRAA.

Corchón Rodríguez, María Soledad, 1991–1992. “Representaciones de Fauna Fría en el Arte Mueble de la Cueva de Caldas (Asturias, España): Significación e Implicaciones en el Arte Parietal” in Zephyrus: Revista de Prehistoria y Arqueología 44–45: 35–64, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/viewFile/3321/3344 (accessed on 5 December 2011).

Cueva de Caldas, Asturias, Cantabria, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art.

Abstract: “Las Caldas Cave is an exceptional site, placed in the West of the Cantabric Region (Asturias). It has a complete magdalenian stratigraphycal sequence, with plentiful and typical lithic, osseous and Portable Art series. In this article we study three plates with rock carving of stepping fauna, such as reindeer, mammoth and rhynoceros, which were found in the Middle Magdalenian base. These three plates allow us to review and extend the chronology of these representations, scarced in Palaeolithic Cantabric art, estimated until the date. Furthermore, they also force us to question the chronology which is commonly accepted for some magdalenian techniques and conventionalisms (bichromy, figures made of dots, striated engraving).”

Dialnet.

Corchón Rodríguez, María Soledad, 1994. “Últimos Hallazgos y Nuevas Interpretaciones del Arte Mueble Paleolítico en el Occidente Asturiano” in Ejemplar Dedicado a: Arte Paleolítico Complutum, vol. 5: 235–264, Universidad Complutense, Departamento de Prehistoria, ISSN: 1131-6993.

http://dialnet.unirioja.es/servlet/articulo?codigo=164329 (accessed on 1 December 2011).

Western Asturias, Cantabria, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Chronology.

Abstract: “This paper analyses Ihe latest achievements obtained by Ihe Palaeolithic Portable Art research in the Western Cantabrian Comise. The assessment of the Aurignaco-Perigordian complex and Ihe regionalization of tIre cantabric industries, noticeabie from the Solutrean period onwards, are importaní innovations. At the same time, these finds establish the existence of the original parietal and portable art horizon. On the other hand, the discovering of new leveis altributed to the Lower !vfagdaienian period provides new evidence lo explain the explosion of portable art in the region during the middle Magdalenian. TIhe finai-upper Magdalenian is also widely represented in the region sites with an extensive collection ofvportable art.”

Dialnet.

Corchón, M.-S., ed., 1997. La Cueva de la Griega de Pedraza (Segovia) Memorias de Arqueologia en Castilla y Leon, Vol. 3: 279 pgs, Junta de Castilla y Leon, Consejeria de Educacion y Cultura, Zamora, Spain.

Griega de Pedraza Cave, Segovia, Spain. Europe. Paleolithic cave art. Horse, signs motif(s).

Biblio.

Corchón Rodríguez, María Soledad, 1998. “Nuevas Representaciones de Antropomorfos en el Magdaleniense Medio Cantábrico” in Zephyrus: Revista de Prehistoria y Arqueología 51: 35–60, Universidad de Salamanca, ISSN: 0514-7336.

http://campus.usal.es/~revistas_trabajo/index.php/0514-7336/article/viewFile/5019/5056 (accessed on 5 December 2011).

Las Caldas, Cantabria, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art. Engraved sandstone plaques.

Abstract: “A study was made of new representations of anthropomorphs, carved in sandstone plaquettes from the ancien Middle Magdalenian period of Las Caldas Cave. On two of them (plaquettes 1595, 6080) there are visible signs of impact or scratches, subsequent to the carvings. One of these plaquettes (1595) shows the carving of a Coelodonta antiquitatis, repeating a previously known theme (plaque 1040) and the presence of cold steppe fauna in the portable art of Las Caldas. The carved representations of this fauna (mammoth, reindeer and tichorrhine) correspond to the ancien Middle Magdalenian, circa 14 000 / 13 650 BP (levels IX to VII of Hall II). Furthermore, the series of anthropomorphs of Las Caldas has figures treated with naturalism together with other semi-human or mixed figures (plaquettes 6080, 3201, 680) with masks or animal heads, as well as a headless figure with a tan. In some cases they are represented in a dynamic posture: arms extended forwards, squatting or carrying a pack on their back. Finally, the style of the anthropomorphs is crude, althougt possible social activities are hinted at. This contrasts vividly with the naturalism, static nature and the elaborate conventionalisms of representation (fur, manes, quartering and modelling) in the animal representations on same levels of the site.”

Dialnet.

Corchón Rodríguez, María Soledad, 2000. “Novedades en el Arte Mueble Magdaleniense del Occidente de Asturias (España)” in Paleolitico da Peninsula Iberica. 3° Congresso de Arqueología Peninsular: UTAD, Vila Real, Portugal, Setembro de 1999, Vitor Oliveira Jorge, coord. Paleolítico da Península Ibérica, vol. 2: 493–524, ADECAP, Porto, Portugal. ISBN: 972-97613-3-7.

Western Asturias, Spain. Europe. Paleolithic art. Mobiliary (portable) art.

Dialnet.

Corchón Rodríguez, María Soledad, 2003. “El Grabado Parietal Paleolítico en la Meseta Norte Español: Consideraciones Metodológicas y de Cronología” in Actes del I Congrés Internacional de Gravats Rupestres i Murals: Homenatge a Lluís Díez-Coronel: (Lleida, 23–27 de Novembre de 1992), Joan Ramon González Pérez, coord., 107–125, Institut d’Estudis Ilerdencs, Lleida, Spain. ISBN: 84-89943-68-0.

Meseta, northern Spain. Europe. Paleolithic art. Research methodology. Cronology.

Dialnet.

Corchón Rodriguez, M. Soledad, 2005–2006. “Los Contornos Recortados de la Cueva de Las Caldas (Asturias, España), en el Contexto del Magdaleniense Medio Cántabro-Pirenaico” in Homenaje a Jesus Altuna Munibe 57: 113–134, Sociedad de Ciencias Naturales Aranzadi, San Sebastian, Spain. ISSN: 1132-2217 ISSN: (Internet): 2172-4555.

http://www.aranzadi-zientziak.org/fileadmin/docs/Munibe/200503113134AA.pdf (accessed on 27 November 2011).

Cueva de Las Caldas, Asturias, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Engraved bone.

Abstract: “En este trabajo se estudian los contornos recortados aparecidos en los niveles más antiguos del Magdaleniense medio de La Cueva de Las Caldas. La potente estratigrafía de este yacimiento permite distinguir dos fases en aquel horizonte cultural: una desarrollada bajo condiciones medioambientales muy frías (Magdaleniense medio antiguo), y otra en la transición y a comienzos del Interestadio Tardiglaciar (Magdaleniense medio evolucionado). Estos objetos, muy escasos en la Cornisa Cantábrica, se sitúan entre los elementos más característicos de la fase antigua. Su presencia en el valle medio del Nalón, Asturias oriental y Cantabria documenta la existencia de contactos y relaciones a larga distancia con la vertiente norte de los Pirineos.”

Internet.

Corchón Rodriguez, Maria Soledad, 2006. “Las Cuevas de la Griega y Palomera (Ojo Guarena) y la Cuestion de la Cronologia del Arte Paleolitico en la Meseta” in El Paleolítico Superior en la Meseta Norte Española, Germán Delibes de Castro and ed. and Fernando Díez Martín, eds. Studia Archaeologica, vol. 94: 75–112, Universidad de Valladolid, Valladolid, Spain. ISBN: 84-8448-384-3, 978-84-8448-384-7.

La Griega, Palomera (Ojo Guarena) Meseta, Spain. Europe. Paleolithic art. Chronology.

Biblio.

Corchón Rodríguez, María Soledad, 2006. “Escultura Lítica de Tipo Pirenaico en el Magdaleniense Medio de Asturias (España): Reflexiones sobre la Expresión del Volumen en el Arte Mueble ca. 14500-13500 cal BC)” in Miscelánea en Homenaje a Victoria Cabrera, José Manuel Maillo y Enrique Baquedano, eds. Zona Arqueológica, vol. 7(2): 55–72, Comunidad de Madrid: Museo Arqueológico Regional.

Asturias, Spain. Europe. Paleolithic art. Magdalenian. Mobiliary (portable) art.

Dialnet.

Corchón Rodríguez, María Soledad, 2006. “Reflexiones sobre el Arte Paleolítico Interior la Meseta Norte Española y sus Relaciones con Portugal” in Zephyrus: Revista de Prehistoria y Arqueología, vol. 59: 111–134, Universidad de Salamanca, ISSN: 0514-7336.

http://dialnet.unirioja.es/servlet/articulo?codigo=2318943 (accessed on 24 August 2011).

Spain. Portugal. Europe. Paleolithic art.

Internet.

Corchón Rodríguez, María Soledad, 2007–2008. “Reflexiones sobre la Expresión Artística y las Relaciones Culturales en el Magdaleniense Medio Cantábrico: A Propósito de dos Plaquitas Grabadas Inéditas de Las Caldas (Asturias, España)” in Homenaje a Ignacio Barandiarán Maestu, Javier Fernández Eraso, Juan Santos Yanguas; Ignacio Barandiarán Maestu (hom.), coords. Veleia: Revista de Prehistoria, Historia Antigua, Arqueología y Filología Clásicas, vol. 24–25(1): 175–207, Universidad del País Vasco, Instituto de Ciencias Antigüedad, ISSN: 0213-2095.

Las Caldas, Asturias, Cantabria, Spain. Europe. Paleolithic art. Mobiliary (portable) art. Engraved plaquettes. Magdalenian.

Dialnet.

Corchón Rodríguez, M. S. and Gárate Maidagán, D., 2010. “Nuevos Hallazgos de Arte Parietal en la Cueva de La Peña (Candamo, Asturias)” in Zephyrus: Revista de Prehistoria y Arqueología 65: 75–102, Universidad de Salamanca, ISSN: 0514-7336.

Cueva de La Peña, Candamo, Asturias, Spain. Europe. Paleolithic art.

Biblio.

Corchón Rodriguez, M., Garate Maidagan, D., Gonzalez Aguilera, D., Munos, A.L., Gomez Lahoz, J. and Sabas, J., 2011. “Nouveaux Regards Sur la Grotte de la Pena (San Roman de Candamo, Asturies)” in L’Anthropologie 114: 84–424, Masson, ISSN: 0003-5521.

Grotte de la Pena, San Roman de Candamo, Asturias, Spain. Europe. Paleolithic art.

Biblio.

Corchón Rodríguez, M. S., Gárate, D., Valladas, H., Pons-Branchu, E., Rivero, O., Hernando, C. and Ortega, P., 2013. “La Cueva de La Peña (San Román. Candamo). Estudio Integral del Arte Parietal Paleolítico (2009–2012)” in Excavaciones Arqueológicas en Asturias (7): 15–26, Oviedo, Spain.

Cueva de La Peña, San Román. Candamo, Spain. Europe. Paleolithic art.

Biblio

Corchón, M., Gárate, D., Valladas, H., Rivero, O., Pons-Branchu, E., Ortega, P. and Hernando, C., 2014. “De Vuelta al Punto de Partida: Nuevas Dataciones del Arte de la Cueva de La Peña de Candamo (Asturias)” in Zephyrus: Revista de Prehistoria y Arqueología 73: 67–81, Universidad de Salamanca, ISSN: 0514-7336.

Cueva de La Peña de Candamo, Asturias, Spain. Europe. Paleolithic art. Dating.

Biblio, Internet.

Corchón, María Soledad, Gárate, Diego, Valladas, Heléne, Pons-Branchu, Edwidge, Rivero, Olivia, Hernando, Clara and Ortega, Paula, 2014. “La Cueva de La Peña (San Román, Candamo): Estudio Integral del Arte Parietal Paleolítico (2009–2012)” in Excavaciones Arqueologicas en Asturias 2007–2012, 15–25, Gobierno del Principado de Asturias, Consejeria de Educaccion, Cultura y Deporte.

ftp://ftp.asturias.es/asturias/patrimonio/Excavaciones_Arqueologicas_2007_2014.pdf (accessed on 13 June 2016).

Caverna de la Pena de Candamo, San Ramon, Asturias, Spain. Europe. Paleolithic art. Zoomorph, sign motif(s). Superpositioning. Direct dating C14.

Abstract: “La Peña Cave in Candamo contains one of the most extensive series of paintings and carvings on the Cantabrian Coast. Ongoing interdisciplinary research studies have provided new graphisms (zoomorphs and signs) in almost all the explored areas of the cave. In this paper we present several of them, previously unpublished, and pose the matter of the superpositioning of figures, carvings and paintings of different characteristics. New 14C (AMS) datings of black paints and U/Th datings of calcite crusts have been made, and they reveal that the use and decoration of the cave lasted for most of the Upper Palaeolithic. In addition, the combined use of different techniques (ED-XRF and RAMAN) in the analysis of the pigments allowed us to identify the palette of colours used by the artists, and also to distinguish among the different painting techniques that could have been linked to one or several occupations of the cave. Finally, a systematic check of the environmental parameters was made (2009-2012) in order to control the existing processes of decalcification and biological pollution (cyanobacteria).”

Internet.

Corchón Rodríguez, María Soledad, Hernando Álvarez, Clara, Rivero Vilá, Olivia, Garate Maidagan, Diego and Ortega, Paula, 2012. “La Cueva de La Griega (Pedraza, Segovia, Espana) en la Encrucijada Iberica: Nuevos Analisis del Arte Parietal Paleolitico a traves del Analisis Factorial de Correspondencias” in Espacio, Tiempo y Forma, Serie I, Nueva Epoca. Prehistoria y Arqueologia, vol. 5: 527–542, Universidad Nacional de Educación a Distancia (España). Facultad de Geografía e Historia (UNED), ISSN: 1131-7698. doi: 10.5944/etfi.5.5358 (accessed on 10 May 2016).

La Griega, Pedraza, Segovia, Spain. Europe. Paleolithic art. Horse (equid) motif(s).

Abstract: “This paper presents the new results of the ongoing studies of La Griega Cave (Pedraza, Segovia, Spain). The investigations are focused in a methodological renewal of the analysis of rock art and formal analysis using statistical tools (Correspondence Factorial Analysis- CFA).The aim of this article is to discuss the results of correspondence factorial analysis focused particularly on the representation of hourses, for which a set of over 200 entities from the cavities (La Pasiega, Castillo, La Viña, Covalanas, Parpalló, Nerja, La Pileta…) and from outdoor sites in the Iberian Peninsula (Siega Verde and Foz Côa) have been analyzed. The results show that the formal characteristics of the Griega cave horses are very homogeneous and share also Cantabrian and Mediterranean characteristics. These data highlight the links between the segovian cave and the equine formal concepts represented in solutreo-Gravettian levels of the cave Parpalló allowing hypothesize the connections between the peninsular interior and the Mediterranean area during this period.”

Internet.

Corchón, M.S., dir. and Menendez, M., dir., 2014. Cien Anos de Arte Rupestre Paleolitico. Centenario del Descubrimiento de la Cueva de La Pena de Candamo (1914–-2014). Actas del Congreso. Acta Salmantinensia Estudios Históricos y Geográficos, Vol. 160: 368 pgs, Ediciones Universidad, Salamanca, Spain. ISBN: 978-84-9012-480-2.

Iberian Peninsula, Spain. Europe. Paleolithic art.

Abstract: “El arte rupestre constituye uno de los patrimonios culturales más preciados de la humanidad. Paradójicamente, es escaso y frágil. Por ello, todas las acciones encaminadas a su mejor comprensión y difusión incrementan su valor cultural y tienen un gran impacto social, no solamente en el ámbito de la Arqueología prehistórica y sus áreas de conocimiento afines, sino en la sociedad del conocimiento en su conjun