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Paleolithic art

Paleolithic art , art of the most recent ice age. Present study and knowledge of this art is largely confined to works discovered at more than 150 sites in W Europe, particularly to the magnificent cave paintings in N Spain and the Dordogne valley of SW France.

Most of these works were produced during two vast, overlapping periods. The Aurignacio-Perigordian (c.14,000-c.13,500 BC) includes the powerful Lascaux paintings, the outdoor sculpture at Laussel, and the several small female figurines, known as Venuses, found at several sites. The second period, the Solutreo-Magdalenian (c.14,000-c.9500 BC), includes the murals at Rouffignac and Niaux and the ceiling of the cave at Altamira, Spain, the Magdalenian's crowning masterpiece. Both of the great cave complexes were discovered by accident—Altamira in 1879, Lascaux in 1940.

The painting styles, known as Franco-Cantabrian and ascribed to Cro-Magnon man , embrace a variety of techniques, including painting with fingers, sticks, and pads of fur or moss; daubing; dotting; sketching with colored materials and charcoal; and spray painting through hollow bone or by mouth. Several pigments were used, and foreshortening and shadowing were skillfully employed. Images were often crowded close to and on top of each other, sometimes with obvious respect for previously applied paintings. Irregular surfaces were decorated in relief. Separate styles, presumably from different eras, can be discerned, 13 at Lascaux alone.

In most Paleolithic caves animal figures (mainly horses, bison, cattle, and hinds) predominate, suggesting that the art may have had ritual significance related to hunting; there are few group or hunting scenes, however, and human figures are extremely rare. Drawn with vitality and the elegance of great simplicity, the animals are the masterworks of prehistoric art and are of an accuracy that provides invaluable evidence to paleozoologists. The Lascaux cave was closed when the paintings began to deteriorate. Some of Lascaux's painted rooms show no signs of human habitation and may have been used for ritual. Engravings on soft stone, bone, and ivory, as well as low reliefs and a few freestanding sculptures, have been found in or near many of these caves.

In 1994 and 1999 richly decorated limestone caves were discovered at Grotte Chauvet in SE France—again by accident. The stone engravings and more than 400 paintings are the most ancient on record, c.32,000 years old, and depict lions, rhinoceroses, bears, horses, and other creatures with bold realism. In addition, during the late 1990s and early 2000s more than 20 ivory figurines depicting animals and birds and dating from approximately the same period as the Grotte Chauvet paintings, were discovered at various sites in Swabia, SW Germany.

Another style predominates in E Spain and bears a strong resemblance to the rock carvings and paintings of N and S Africa. The pictures, drawn chiefly in silhouette, are found on the walls of shallow rock shelters and are usually small; they depict human as well as animal figures in scenes of hunting, fighting, ceremonial, ritual, and domestic activities. This art seems to have reached its peak in the Mesolithic period. A third style, largely of Aurignacian origin, ranges from France to W Siberia and consists almost entirely of small sculptured figures of animals and human beings. The latter are chiefly female, often abnormally voluptuous, and are generally regarded as fertility goddesses; one of the most famous is the Venus of Willendorf, Austria.

The damp climate of the British Isles is believed to have caused the destruction of most of the islands' Paleolithic art, but some examples have survived. In the first years of the 21st cent. archaeologists discovered the earliest extant works of prehistoric art in Great Britain, engravings of two birds (possibly a crane or swan and a bird of prey) and an ibex, in a cave at Creswell Crags, Derbyshire. They were carved some 12,000 years ago, and are done in a style similar to that of contemporary works on the continent. The engravings are neither as old nor as accomplished as continental examples.

See also African art and Paleolithic period .

Bibliography: See studies by A. Leroi-Gourhan (tr. 1967, repr. 1982), J. Van Tilbura (1981), and D. Mazonowicz (1984); P. G. Bahn, The Cambridge Illustrated History of Prehistoric Art (1997); D. Lewis-Williams, The Mind in the Cave: Consciousness and the Origins of Art (2002); R. White, Prehistoric Art: The Symbolic Journey of Humankind (2003).

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