Les peintures préhistoriques de la grotte d'Altamira à Santillana (Espagne)

Cartailhac, Émile; Breuil, Henri

doi:10.3406/crai.1903.19403

Cited by 14 publications

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“… A series of isolated references, in some cases made quite timidly, in the 1870s and 1880s and which had no continuity in their development (Bourgeois and Delaunay 1865, 92; Piette 1873, 414–16; Bernardin 1876, 12; Reinach 1889, 234). A group of proposals that were developed at the turn of the century and which were synchronic with the increasing acceptance of the antiquity of cave art (Reinach 1899, 478; 1903; Girod and Massenat 1900; Chauvet 1903, 6; Cartailhac and Breuil 1903, 10; 1906, 144–225). These no longer had an isolated character but were integrated within a general theory of the interpretation of ‘primitive art’. …”

Section: The Consideration Of Palaeolithic Parietal Art and The New Cmentioning

confidence: 99%

“…A group of proposals that were developed at the turn of the century and which were synchronic with the increasing acceptance of the antiquity of cave art (Reinach 1899, 478; 1903; Girod and Massenat 1900; Chauvet 1903, 6; Cartailhac and Breuil 1903, 10; 1906, 144–225). These no longer had an isolated character but were integrated within a general theory of the interpretation of ‘primitive art’.…”

Section: The Consideration Of Palaeolithic Parietal Art and The New Cmentioning

confidence: 99%

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Cave Art and the Theory of Art: The Origins of the Religious Interpretation of Palaeolithic Graphic Expression

Palacio‐Pérez¹

2010

Oxford Journal of Archaeology

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This paper explores the origins of the symbolic-religious interpretation of Palaeolithic art. We analyse the relationship between the explanations that were given of the 'primitive' mentality in the second half of the nineteenth century and the birth of the religious interpretations of Palaeolithic art and we try to show how this union does not express a direct cause-effect relationship. In order for the union to take place, an intellectual change that would generate a new way of understanding the origins and the nature of art was necessary. an ongoing debateSince the late 1960s, there has developed the idea that the recognition of the age of Palaeolithic cave art was closely linked to the 'conceptual discovery' of the symbolic and religious world of primitive peoples.Indeed, the existence in the nineteenth century of an over-rigid idea of progress has been the corner-stone of the explanation for the slow process of the acceptance of cave art. In that way, a very simplistic form of evolutionism, which denied any hint of symbolic and intellectual complexity amongst hunter-gatherers, made it impossible to fit such art within a 'savage' society. It was only when this idea of progress became more flexible, in parallel with the discovery and more precise definition of the symbolic-religious world of primitive people, that the prehistoric chronology of the parietal depictions could be accepted (Ucko and Rosenfeld

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Section: The Consideration Of Palaeolithic Parietal Art and The New Cmentioning

confidence: 99%

Section: The Consideration Of Palaeolithic Parietal Art and The New Cmentioning

confidence: 99%

Cave Art and the Theory of Art: The Origins of the Religious Interpretation of Palaeolithic Graphic Expression

Palacio‐Pérez¹

2010

Oxford Journal of Archaeology

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“…2. A group of proposals that were developed at the end of the century, at the same time as the steady acceptance of the antiquity of parietal art (Reinach 1899a(Reinach : 478, 1903a(Reinach , b & c, 1905Girod & Massénat 1900;Cartailhac & Breuil 1903: 10, 1906Chauvet 1903: 6). These were no longer isolated references but were integrated within a general theory for the interpretation of 'primitive art'.…”

Section: The Magic-religious Interpretation Of Palaeolithic Artmentioning

confidence: 99%

Salomon Reinach and the religious interpretation of Palaeolithic art

Palacio‐Pérez¹

2010

Antiquity

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“…Gran número de investigadores han dado a conocer los objetos de adorno-colgantes realizados sobre dientes de animales (Barandiarán Maestu 1972;Breuil & Obermaier 1935;Cartailhac & Breuil 1906;Cerchón Rodríguez 1986;Maudet 2003;Stettier 1999;Utrilla Miranda 1981).…”

Section: Algunas Reflexionesunclassified

"Altamira revisited" : nuevos datos, interpretaciones y reflexiones sobre la industria ósea y la malacofauna

Fernández¹

2001

ETFI

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Les peintures préhistoriques de la grotte d'Altamira à Santillana (Espagne)

Cited by 14 publications

References 0 publications

Cave Art and the Theory of Art: The Origins of the Religious Interpretation of Palaeolithic Graphic Expression

Cave Art and the Theory of Art: The Origins of the Religious Interpretation of Palaeolithic Graphic Expression

Salomon Reinach and the religious interpretation of Palaeolithic art

"Altamira revisited" : nuevos datos, interpretaciones y reflexiones sobre la industria ósea y la malacofauna

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