Hi Everybody! We have quite an adventure tonight!
We are going to France. The earliest Art ever created by Humans was of Nature. We are on a Treasure Hunt going back in time. In the end, we will discover a big surprise!
Humans are the only species on Earth who create and appreciate Art. When did our creative energies begin? What is the first (documented) Artwork credited to Humans? I have found our Ancestors, the Art, the Place and Time on Earth.
It is Here. It is Now. And. it is so WOW!
Enjoy the Journey back in time!
| Location of Dordogne in France | |
| Coordinates: 45°00′N 00°40′E |
Dordogne
From Wikipedia, the free encyclopedia
Dordogne (French pronunciation: [dɔʁ.dɔɲ]; Occitan: Dordonha) is a départment in south-west France. The départment is located in the region of Aquitaine, between the Loirevalley and the High Pyrénées named after the great Dordogne River that runs through it. It roughly corresponds with the ancient county of Périgord.
In addition to its castles, chateaux, churches, bastides and cave fortresses, the Périgord region has preserved from centuries past, a number of wonderful villages which still have their market halls, dovecotes, tories (stone huts), churches, abbeys and castles. Saint-Leon-sur-Vezere, Connezac, Saint-Jean-de-Côle, La Roque-Gageac and many others are real jewels of architecture. As for the old quarters of Périgueux or Bergerac, restored and developed into pedestrian areas, they have regained their former charm. A number of small towns, such as Brantôme, Issigeac, Eymet and Mareuil, have withstood the often brash changes of modern times. A special mention should be made in this respect to Sarlat and its Black Périgord area.
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http://www.holidayinthedordogne.com/dordogne-guide
Dordogne Travel Guide
The Dordogne – within Department 24 (formerly “Périgord”) – lies to the south west of France. It forms part of the Aquitaine region, made up of the Atlantic Pyrenees (Department 64), Landes (Department 40), and Lot et Garonne (Department 47).
French Departments are roughly equivalent to English counties. They are France’s administrative units that include 22 metropolitan and four overseas regions. In total there are 100 French departments, which are subdivided into 342 arrondissements.
The department is named after the river running through the entire region, the Dordogne, and is where many of the most attractive holiday cottages in France can be found.
The Dordogne’s population (Périgourdins) numbers approximately 400,000. As the area is roughly 9,200 km² there is enough space for everyone- so people coming to look for holiday cottages in France aren’t likely to create an overcrowding problem.
Even though it is the third largest province in France the Dordogne has few large towns and cities. The capital Périgueux has only 30,000 inhabitants, although this swells in summer as tourists come to use their holiday cottages in France.
If you are looking for holiday cottages in France the weather in the Dordogne is attractive. Winters are mild and summer temperatures are 5-8 degrees warmer than in the UK. There are many microclimates, affected by the position of the valleys, the rimpeling of the valleys, the profile and the sun’s altitude towards the hills. When considering holiday cottages in France the Dordogne offers different climates for open environments, woods and lakes.
The summer is usually long and warm. The best months to visit are May and June, these is a popular period so booking holiday cottages in France in advance is advisable. Visiting holiday cottages in France is also pleasant in September and October. The mornings can be misty, brightening up later to allow you to see the countryside at its best.
Previous summers have been a warm 30-35 degrees. If you like thunderstorms the Vézèrevalley and the south west of the province are great places to look for for holiday cottages in France.
Dordogne is well-known for its duck, as well as geese, truffles, apple cider and walnuts. There are also many delicious Bergerac wines including the renowned Montbazillac dessert wine. There are many walnut plantations, farmed for nut oil and nut liquor. There also many small shops selling local products including vegetables, fruit and wine.
A view of what might have been: Just Push Play>
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Lascaux
From Wikipedia, the free encyclopedia
Lascaux is the setting of a complex of caves in southwestern France famous for its Paleolithiccave paintings. The original caves are located near the village of Montignac, in the department ofDordogne. They contain some of the best-known Upper Paleolithic art. These paintings are estimated to be 17,300 years old.[1][2] They primarily consist of primitive images of large animals, most of which are known from fossil evidence to have lived in the area at the time. In 1979, Lascaux was added to the UNESCO World Heritage Sites list along with other prehistoric sites in the Vézère valley.
Cave painting of a dun horse (equine) at Lascaux
History
The cave was discovered on September 12, 1940 by four teenagers, Marcel Ravidat, Jacques Marsal, Georges Agnel, and Simon Coencas, as well as Marcel's dog, Robot.[4] The cave complex was opened to the public in 1948.[5] By 1955, the carbon dioxide produced by 1,200 visitors per day had visibly damaged the paintings. The cave was closed to the public in 1963 in order to preserve the art. After the cave was closed, the paintings were restored to their original state, and were monitored on a daily basis. Rooms in the cave include The Hall of the Bulls, the Passageway, the Shaft, the Nave, the Apse, and the Chamber of Felines.
Lascaux II, a replica of two of the cave halls — the Great Hall of the Bulls and the Painted Gallery — was opened in 1983, 200 meters from the original.[4] Reproductions of other Lascaux artwork can be seen at the Centre of Prehistoric Art at Le Thot, France.
Since 1998 the cave has been beset with a fungus, variously blamed on a new air conditioning system that was installed in the caves, the use of high-powered lights, and the presence of too many visitors.[6] As of 2008, the cave contained black mold which scientists were and still are trying to keep away from the paintings. In January 2008, authorities closed the cave for three months even to scientists and preservationists. A single individual was allowed to enter the cave for 20 minutes once a week to monitor climatic conditions. Now only a few scientific experts are allowed to work inside the cave and just for a few days a month but the efforts to remove the mold have taken a toll, leaving dark patches and damaging the pigments on the walls
Geographic setting
In its sedimentary composition, the Vézère drainage basin covers one fourth of the département of the Dordogne, the northernmost region of the Black Périgord. Before joining the Dordogne River near Limeuil, the Vézère flows in a south-westerly direction. At its centre point, the river's course is marked by a series of meanders flanked by high limestone cliffs that determine the landscape. Upstream from this steep-sloped relief, near Montignac and in the vicinity of Lascaux, the contours of the land soften considerably – the valley floor widens, and the banks of the river lose their steepness. The Lascaux valley is located some distance from the major concentrations of decorated caves and inhabited sites, most of which were discovered further downstream. In the environs of the village of Eyzies-de-Tayac Sireuil, one finds no less than 37 decorated caves and shelters, as well as an even greater number of habitation sites from the Upper Palaeolithic, located in the open, beneath a sheltering overhand, or at the entrance to one of the area's karst cavities. This is the highest concentration in western Europe.
The images
The cave contains nearly 2,000 figures, which can be grouped into three main categories — animals, human figures and abstract signs. Notably, the paintings contain no images of the surrounding landscape or the vegetation of the time.[8][not in citation given] Most of the major images have been painted onto the walls using mineral pigments, although some designs have also been incised into the stone. Many images are too faint to discern, and others have deteriorated entirely.
Over 900 can be identified as animals, and 605 of these have been precisely identified. There are also many geometric figures. Of the animals, equines predominate, with 364 images. There are 90 paintings of stags. Also represented are cattle and bison, each representing 4-5% of the images. A smattering of other images include seven felines, a bird, a bear, a rhinoceros, and a human. There are no images of reindeer, even though that was the principal source of food for the artists.[9]
The most famous section of the cave is The Great Hall of the Bulls where bulls, equines and stags are depicted. The four black bulls, or aurochs, are the dominant figures among the 36 animals represented here. One of the bulls is 17 feet (5.2 m) long — the largest animal discovered so far in cave art. Additionally, the bulls appear to be in motion.[10]
A painting referred to as "The Crossed Bison" and found in the chamber called the Nave is often held as an example of the skill of the Paleolithic cave painters. The crossed hind legs create the illusion that one bison is closer to us than the other. This visual depth in the scene demonstrates a primitive form of perspective which was particularly advanced for the time.
In recent years, new research has suggested that the Lascaux paintings may incorporate prehistoric star charts. Dr Michael Rappenglueck of the University of Munich argues that some of the non-figurative dot clusters and dots within some of the figurative images correlate with the constellations of Taurus, the Pleiades and the grouping known as the "Summer Triangle".[11]Based on her own study of the astronomical significance of Bronze Age petroglyphs in the Vallée des Merveilles[12] and her extensive survey of other prehistoric cave painting sites in the region — most of which appear to have been specifically selected because the interiors are illuminated by the setting sun on the day of the winter solstice — French researcher Chantal Jègues-Wolkiewiez has further proposed that the gallery of figurative images in the Great Hall represents an extensive star map and that key points on major figures in the group correspond to stars in the main constellations as they appeared in the Paleolithic.[13][14]
An alternative hypothesis proposed by David Lewis-Williams and Jean Clottes following work with similar art of the San people of Southern Africa is that this type of art is spiritual in nature relating to visions experienced during ritualistic trance-dancing. These trance visions are a function of the human brain and so are independent of geographical location. Nigel Spivey, a professor of classic art and archeology at the University of Cambridge, has further postulated in his series, How Art Made the World, that dot and lattice patterns overlapping the representational images of animals are very similar to hallucinations provoked by sensory-deprivation. He further postulates that the connections between culturally important animals and these hallucinations led to the invention of image-making, or the art of drawing. Further extrapolations include the later transference of image-making behavior from the cave to megalithic sites, and the subsequent invention of agriculture to feed the site builders.
Some anthropologists and art-historians also theorize that the paintings could be an account of past hunting success, or could represent a mystical ritual in order to improve future hunting endeavors. This latter theory is supported by the overlapping images of one group of animals in the same cave-location as another group of animals, suggesting that one area of the cave was more successful for predicting a plentiful hunting excursion. Daniel Quinn, in The Story of B, hypothesizes that the paintings were instructional in nature, created in order to communicate successful hunting strategies.
Applying to the Lascaux paintings the iconographic method of analysis (studying position, direction and size of the figures; organization of the composition; painting technique; distribution of the color planes; research of the image center), Thérèse Guiot-Houdart endeavoured to comprehend the symbolic function of the animals, to identify the theme of each image and finally to reconstitute the canvas of the myth illustrated on the rockwalls.[15]
Finally, Julien d'Huy and Jean-Loïc Le Quellec show that certain angular or barbed signs of Lascaux may be analysed as "weapon" or "wounds". These signs affect dangerous animals - big cats, aurochs and bisons - more than the others and can be efficiently explained by a fear of the animation of the image.[16] Another finding supports the hypothesis of half-alive images. At Lascaux, bisons, aurochs and ibex are not represented side by side. Conversely, one can note a bisons-horses-lions system and an aurochs-horses-deers-bears system, these animals being frequently associated.[17] Such a distribution may be explained by the relationship between the species pictured and their environmental conditions. Aurochs and bison fight one against the other, and horses and deers are very social with other animals. Bisons and lions live in open plains areas; aurochs, deers and bears are associated with forests and marshes; ibex habitat is rocky areas, and horses are highly adaptative for all these areas. The Lascaux paintings disposition may be explained by a belief in the real life of the pictured species, the artist trying to respect their real environmental conditions.
Threats
The opening of the Lascaux cave after World War II changed the cave environment. The breathing of 1,200 visitors per day, presence of lighting and changes in air circulation have created a number of problems. In the late 1950s appearance of lichens and crystals on the walls led to closure of the caves in 1963. This led to restriction of access to the real caves to a few visitors every week and the creation of a replica cave for visitors to Lascaux. In 2001, the authorities in charge of Lascaux changed the air conditioning system which resulted in regulation of the temperature and humidity. When the system had been established, an infestation of Fusarium solani, a white mold, began spreading rapidly across the cave ceiling and walls.[19] The mold is considered to have been present in the cave soil and exposed by the working of tradesmen, leading to the spread of the fungus which was treated with quicklime. Since 2007, a new fungus, which has created grey and black blemishes, has begun spreading in the real cave.
Organized through the initiative of the French Ministry of Culture, an international symposium titled “Lascaux and Preservation Issues in Subterranean Environments” was held in Paris on February 26 and 27, 2009 under the chairmanship of Jean Clottes. It brought together nearly three hundred participants from seventeen countries with the goal of confronting research and interventions conducted in Lascaux Cave since 2001 with the experiences gained in other countries in the domain of preservation in subterranean environments.[20] The proceedings of this symposium were published in 2011 in a volume which is composed of the studies presented during the sessions and full transcriptions of the debates. Seventy-four specialists of fields as varied at biology, biochemistry, botany, hydrology, climatology, geology, fluid mechanics, archaeology, anthropology, restoration and conservation, from numerous countries (France, United States, Portugal, Spain, Japan, Australia, Germany, South Africa, New Zealand...) contributed to the realization of this publication.[21]
The problem is ongoing and efforts are on to control the microbial and fungal growth in the cave. The fungal infection crises have led to the establishment of an International Scientific Committee for Lascaux and rethinking of how and how much human access should be permitted in caves containing prehistoric art
http://en.wikipedia.org/wiki/Lascaux
http://www.bradshawfoundation.com/lascaux/index.php
 | Lascaux Cave Paintings - An Introduction |
In collaboration with Noël Coye, Conservateur du patrimoine, Ministère de la Culture et de la Communication, France.
Lascaux is famous for its Palaeolithic cave paintings, found in a complex of caves in the Dordogne region of southwestern France, because of their exceptional quality, size, sophistication and antiquity. Estimated to be up to 20,000 years old, the paintings consist primarily of large animals, once native to the region. Lascaux is located in the Vézère Valley where many other decorated caves have been found since the beginning of the 20th century (for example Les Combarelles and Font-de-Gaume in 1901, Bernifal in 1902). Lascaux is a complex cave with several areas (Hall of the Bulls, Passage gallery) It was discovered on 12 September 1940 and given statutory historic monument protection in december of the same year. In 1979, several decorated caves of the Vézère Valley - including the Lascaux cave - were added to the UNESCO World Heritage Sites list. But these hauntingly beautiful prehistoric cave paintings are in peril. Recently, in Paris, over 200 archaeologists, anthropologists and other scientists gathered for an unprecedented symposium to discuss the plight of the priceless treasures of Lascaux, and to find a solution to preserve them for the future. The Symposium took place under the aegis of France's Ministry of Culture and Communication, and presided over by Dr. Jean Clottes.
Red Cow & First Chinese Horse
Photograph N. Aujoulat (2003) © MCC-CNP
Of the animals, equines predominate [364]. There are 90 paintings of stags. Also represented are cattle, bison, felines, a bird, a bear, a rhinoceros, and a human. Among the most famous images are four huge, black bulls or aurochs in the Hall of the Bulls. One of the bulls is 17 feet (5.2 m) long - the largest animal discovered so far in cave art.
Great Black Bull
Photograph N. Aujoulat (2003) © MCC-CNP
The next six vids are a wonderful in depth look at the art in the caves. They are 10 minutes each, so an hour viewing time.
You may want to come back later when You have more time. I watched them all, but this is something I am really interested in!
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http://www.lascaux.culture.fr/?lng=en#/fr/00.xml wonderful site
http://en.wikipedia.org/wiki/Magdalenian
Magdalenian
From Wikipedia, the free encyclopedia
The Magdalenian (French: Magdalénien), refers to one of the later cultures of the Upper Paleolithic in western Europe, dating from around 15,000 BCE to 7,000 BCE. It is named after thetype site of La Madeleine, a rock shelter located in the Vézère valley, commune of Tursac, in theDordogne department of France.
Originally termed "L'âge du renne" (the Age of the Reindeer) by Édouard Lartet and Henry Christy, the first systematic excavators of the type site, in their publication of 1875, the Magdalenian is synonymous in many people's minds with reindeer hunters, although Magdalenian sites also contain extensive evidence for the hunting of red deer, horse and other large mammals present inEurope towards the end of the last ice age. The culture was geographically widespread, and later Magdalenian sites have been found from Portugal in the west to Poland in the east.
Duration
Duration
The culture spans the period between c. 18,000 and 10,000 BP, towards the end of the last ice age. The Magdalenien is characterised by regular blade industries struck from carinated cores. Typologically the Magdalenian is divided into six phases which are generally agreed to have chronological significance. The earliest phases are recognised by the varying proportion of blades and specific varieties of scrapers, the middle phases marked by the emergence of a microlithic component (particularly the distinctive denticulatedmicroliths) and the later phases by the presence of uniserial (phase 5) and biserial 'harpoons' (phase 6) made of bone, antler and ivory.[1]
There is extensive debate about the precise nature of the earliest Magdalenian assemblages, and it remains questionable whether the Badegoulian culture is in fact the earliest phase of the Magdalenian. Similarly finds from the forest of Beauregard near Paris have often been suggested as belonging to the earliest Magdalenian.[2] The earliest Magdalenian sites are all found in France.
The later phases of the Magdalenian are also synonymous with the human re-settlement of north-western Europe after the Last Glacial Maximum during the Late Glacial Maximum. Research in Switzerland, southern Germany [3] and Belgium [4] has provided AMS radiocarbon dating to support this.
By the end of the Magdalenian, the lithic technology shows a pronounced trend towards increased microlithisation. The bone harpoons and points have the most distinctive chronological markers within the typological sequence. As well as flint tools, the Magdalenians are best known for their elaborate worked bone, antler and ivory which served both functional and aesthetic purposes including perforated batons. Examples of Magdalenian portable art include batons,figurines and intricately engraved projectile points, as well as items of personal adornment including sea shells, perforated carnivore teeth (presumably necklaces) and fossils.
The sea shells and fossils found in Magdalenian sites can be sourced to relatively precise areas of origin, and so have been used to support hypothesis of Magdalenian hunter-gatherer seasonal ranges, and perhaps trade routes. Cave sites such as the world famous Lascaux contain the best known examples of Magdalenian cave art. The site of Altamira in Spain, with its extensive and varied forms of Magdalenian mobillary art has been suggested to be an agglomeration site where multiple small groups of Magdalenian hunter-gatherers congregated.[5]
In northern Spain and south west France it was superseded by the Azilian culture. In northern Europe we see a slightly different picture, with different variants of the Tjongerian techno-complex following it. It has been suggested that key Late Glacial sites in south-western Britain can also be attributed to the Magdalenian, including the famous site of Kent's Cavern, although this remains open to debate
http://en.wikipedia.org/wiki/Magdalenian
http://www.kidspast.com/world-history/0019-cro-magnon.php
Cro-Magnons
The earliest Homo sapiens sapiens were the Cro-Magnons. These early modern humans are named after the location of their discovery in France in the 1860s. Since their original discovery, many other Cro-Magnon fossils and artifacts have been found throughout Europe, Asia and Africa.
Cro-Magnons were taller than the Neanderthal, but they were not as muscular. A very important advantage is that they had much improved technologies, languages and cultures over those of the Neanderthals.http://en.wikipedia.org/wiki/Cro-Magnon
Cro-Magnon
From Wikipedia, the free encyclopedia
The Cro-Magnon (
i/kroʊˈmænjən/ or US pronunciation: 
/kroʊˈmæɡnən/; French [kʁomaɲɔ̃]) were the first early modern humans (early Homo sapiens sapiens) of the European Upper Paleolithic. The earliest known remains of Cro-Magnon-like humans are radiocarbon dated to 35,000 years before present.
i/kroʊˈmænjən/ or US pronunciation: /kroʊˈmæɡnən/; French [kʁomaɲɔ̃]) were the first early modern humans (early Homo sapiens sapiens) of the European Upper Paleolithic. The earliest known remains of Cro-Magnon-like humans are radiocarbon dated to 35,000 years before present.
Cro-Magnons were robustly built and powerful. The body was generally heavy and solid with a strong musculature. The forehead was straight, with slight browridges and a tall forehead.[1] Cro-Magnons were the first humans (genus Homo) to have a prominent chin. The brain capacity was about 1,600 cubic centimetres (98 cu in), larger than the average for modern humans.
Etymology
Etymology
The name derives from the Abri de Cro-Magnon (French: rock shelter of Cro-Magnon, the big cavein Occitan) near the commune of Les Eyzies-de-Tayac-Sireuil in southwestern France, where thefirst specimen was found.[3] Being the oldest known modern humans (Homo sapiens) in Europe, the Cro-Magnon were from the outset linked to the well-known Lascaux cave paintings and theAurignacian culture whose remains were well known from southern France and Germany. As additional remains of early modern humans were discovered in archaeological sites from Western Europe and elsewhere, and dating techniques improved in the early 20th century, new finds were added to the taxonomic classification.
The term "Cro-Magnon" soon came to be used in a general sense to describe the oldest modern people in Europe. By the 1970s the term was used for any early modern human wherever found, as was the case with the far-flung Jebel Qafzeh remains in Israel and various Paleo-Indians in theAmericas.[4] However, analyses based on more current data[5] concerning the migrations of early humans have contributed to a refined definition of this expression. Today, the term "Cro-Magnon" falls outside the usual naming conventions for early humans, though it remains an important term within the archaeological community as an identifier for the commensurate fossil remains in Europe and adjacent areas.[6]Current scientific literature prefers the term "European Early Modern Humans" (or EEMH), instead of "Cro-Magnon". The oldest definitely dated EEMH specimen[5] with a modern and archaic (possibly Neanderthal) mosaic of traits is the Cro-Magnon Oase 1 find,[7] which has been dated back to around 45,000 calendar years before present.
Cro-Magnon site
The original Cro-Magnon find was discovered in a rock shelter at Les Eyzies, Dordogne, France. The type specimen from the site is Cro-Magnon 1, carbon dated to about 28,000 14C years old.[11] (27,680 ± 270 BP). Compared to neanderthals, the skeletons showed the same high forehead, upright posture and slender (gracile) skeleton as modern humans. The other specimens from the site are a female, Cro-Magnon 2 and male remains, Cro-Magnon3
The condition and placement of the remains of Cro-Magnon 1, along with pieces of shell and animal teeth in what appear to have been pendants or necklaces raises the question whether they were buried intentionally. If Cro-Magnons buried their dead intentionally it suggests they had a knowledge of ritual, by burying their dead with necklaces and tools, or an idea of disease and that the bodies needed to be contained.[12]
Analysis of the pathology of the skeletons shows that the humans of this period led a physically difficult life. In addition to infection, several of the individuals found at the shelter had fusedvertebrae in their necks, indicating traumatic injury; the adult female found at the shelter had survived for some time with a skull fracture. As these injuries would be life threatening even today, this suggests that Cro-Magnons believed in community support and took care of each other's injuries
Cro-Magnon life
[edit]Physical attributes
Cro-Magnon were anatomically modern, straight limbed and tall compared to the contemporaryNeanderthals. They are thought to have been 166 to 171 centimeters (about 5' 5" to 5' 7") tall[27], though large males may have stood as tall as 195 cm (6' 5") and taller.[28] They also differ from modern day humans in having a more robust physique and a slightly larger cranial capacity.[27] The Cro-Magnons had long, fairly low skulls, with wide faces, prominent noses, and moderate to noprognathism, similar to the features seen in modern Europeans.[16] A distinctive trait was the rectangular eye orbits.[29]
Several works on genetics, their blood types and cranial morphology indicate that the Basque peoplemay be part descendents of the original Cro-Magnon population.[30] A study of Basque DNA in 2006 showed a one percent incidence of mtDNA haplogroup U8a that was dated to the time of Cro-Magnon, but the authors noted that the low incidence of this ancestry and recent gene flow from neighboring populations meant that the current Basque population cannot be considered to be reliable examples of the physical characteristics of Cro-Magnon men.[31]
Mitochondrial DNA analysis place the early European population as sister group to the Asian ("Mongol") groups, dating the divergence to some 50 000 years ago.[32] While the skin and hair colour of the Cro-Magnons can at best be guessed at, light skin is known to have evolved independently in both the Asian and European lines,[33] and may have only appeared in the European line as recently as 6000 years ago[34] suggesting Cro-Magnons could have been medium brown to tan-skinned.[35] A small ivory bust of a man found at Dolní Věstonice and dated to 26 000 years indicate the Cro-Magnons had straight hair, though the somewhat later Venus of Brassempouy may show wavy or curly hair, possibly braided.
[edit]Cro-Magnon culture
Main article: Aurignacian
The flint tools found in association with the remains at Cro-Magnon have associations with the Aurignacian culture that Lartet had identified a few years before he found the first skeletons. The Aurignacian differ from the earlier cultures by their finely worked bone or antler points and flint points made for hafting, the production of Venus figurines and cave painting.[36]
Like Neanderthals, the Cro-Magnon were primarily big-game hunters, killing mammoth, cave bears, horses and reindeer.[37] They would have been nomadic or semi-nomadic, following the annual migration of their prey. In Mezhirich village in Ukraine, several huts built from mammoth bones possibly representing semi-permanent hunting camps have been unearthed.[38]
Finds of spun, dyed, and knotted flax fibers among Cro-Magnon artifacts in Dzudzuana shows they made cords for hafting stone tools, weaving baskets, or sewing garments, and suggest that they knew how to make woven clothing.[39] Apart from the mammoth bone huts mentioned, they constructed shelter of rocks, clay, branches, and animal hide/fur. These early humans used manganese and iron oxides to paint pictures and may have created one early lunar calendar around 15,000 years ago
http://www.metmuseum.org/toah/hd/lasc/hd_lasc.htmLascaux (ca. 15,000 B.C.)
A virtual revolution occurred in the creation of art during the period of the Upper Paleolithic in Europe. Beginning around 40,000 B.C., the archaeological record shows that anatomically modern humans effectively replaced Neanderthals and remained the sole hominid inhabitants across continental Europe. At about the same time, and directly linked to this development, the earliest art was created. These initial creative achievements fall into one of two broad categories. Paintings and engravings found in caves along walls and ceilings are referred to as "parietal" art. The caves where paintings have been found are not likely to have served as shelter, but rather were visited for ceremonial purposes. The second category, "mobiliary" art, includes small portable sculpted objects which are typically found buried at habitation sites.
Through these early achievements in representation and abstraction, we see a newfound mastery of the environment and a revolutionary accomplishment in the intellectual development of humankind.
In the painted caves of western Europe, namely in France and Spain, we witness the earliest unequivocal evidence of the human capacity to interpret and give meaning to our surroundings. Through these early achievements in representation and abstraction, we see a newfound mastery of the environment and a revolutionary accomplishment in the intellectual development of humankind.
The painted walls of the interconnected series of caves in Lascaux in southwestern France are among the most impressive and well-known artistic creations of Paleolithic humans. Although there is one human image (painted representations of humans are very rare in Paleolithic art;sculpted human forms are more common), most of the paintings depict animals found in the surrounding landscape, such as horses, bison, mammoths, ibex, aurochs, deer, lions, bears, and wolves. The depicted animals comprise both species that would have been hunted and eaten (such as deer and bison) as well as those that were feared predators (such as lions, bears, and wolves). No vegetation or illustration of the environment is portrayed around the animals, who are represented in profile and often standing in an alert and energetic stance. Their vitality is achieved by the broad, rhythmic outlines around areas of soft color. The animals are typically shown in a twisted perspective, with the heads depicted in profile but the pair of horns or antlers rendered frontally visible. (In contrast, a strictly optical profile would show only one horn or antler.) The intended result may have been to imbue the images with more visual power and magical properties. The combination of profile and frontal perspectives is an artistic idiom also observed in ancient Near Eastern and Egyptian art.
At Lascaux and Chauvet, another magnificently painted cave in France, images of animals are superimposed on top of earlier depictions, which suggests that the motivation for the paintings may have been in the act of portraying the animals rather than in the artistic effect of the final composition. However, their purpose remains obscure. Most of the paintings are located at a distance from the cave's entrance, and many of the chambers are not easily accessible. This placement, together with the enormous size and compelling grandeur of the paintings, suggests that the remote chambers may have served as sacred or ceremonial meeting places.
In addition to the painted images, Lascaux is rich with engravings of animals as well as abstract designs. In the absence of natural light, these works could only have been created with the aid of torches and stone lamps filled with animal fat.
The pigments used to paint Lascaux and other caves were derived from readily available minerals and include red, yellow, black, brown, and violet. No brushes have been found, so in all probability the broad black outlines were applied using mats of moss or hair, or even with chunks of raw color. The surfaces appear to have been covered by paint blown directly from the mouth or through a tube; color-stained, hollowed-out bones have been found in the caves.
http://www.richeast.org/htwm/las/las.htmlThe painted walls of the interconnected series of caves in Lascaux in southwestern France are among the most impressive and well-known artistic creations of Paleolithic humans. Although there is one human image (painted representations of humans are very rare in Paleolithic art;sculpted human forms are more common), most of the paintings depict animals found in the surrounding landscape, such as horses, bison, mammoths, ibex, aurochs, deer, lions, bears, and wolves. The depicted animals comprise both species that would have been hunted and eaten (such as deer and bison) as well as those that were feared predators (such as lions, bears, and wolves). No vegetation or illustration of the environment is portrayed around the animals, who are represented in profile and often standing in an alert and energetic stance. Their vitality is achieved by the broad, rhythmic outlines around areas of soft color. The animals are typically shown in a twisted perspective, with the heads depicted in profile but the pair of horns or antlers rendered frontally visible. (In contrast, a strictly optical profile would show only one horn or antler.) The intended result may have been to imbue the images with more visual power and magical properties. The combination of profile and frontal perspectives is an artistic idiom also observed in ancient Near Eastern and Egyptian art.
At Lascaux and Chauvet, another magnificently painted cave in France, images of animals are superimposed on top of earlier depictions, which suggests that the motivation for the paintings may have been in the act of portraying the animals rather than in the artistic effect of the final composition. However, their purpose remains obscure. Most of the paintings are located at a distance from the cave's entrance, and many of the chambers are not easily accessible. This placement, together with the enormous size and compelling grandeur of the paintings, suggests that the remote chambers may have served as sacred or ceremonial meeting places.
In addition to the painted images, Lascaux is rich with engravings of animals as well as abstract designs. In the absence of natural light, these works could only have been created with the aid of torches and stone lamps filled with animal fat.
The pigments used to paint Lascaux and other caves were derived from readily available minerals and include red, yellow, black, brown, and violet. No brushes have been found, so in all probability the broad black outlines were applied using mats of moss or hair, or even with chunks of raw color. The surfaces appear to have been covered by paint blown directly from the mouth or through a tube; color-stained, hollowed-out bones have been found in the caves.
Cave of Lascaux
by K.C. and M.S.
 | This is a drawing of France showing three of the six most valuable caves discovered in France. Drawn by Katie Crylen. |
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During the time of 15,000 to 13,000 BCE, (late Aurignacian period, which is another name for one of the prehistoric eras) humans were much less developed than they are today. Humans were less developed in all areas, such as socially and technologically. They lived in huts in the forest and in underground dwellings or caves. Little information about the prehistoric era exists except for archeology and the finding of cave of Lascaux was a door into the past. This door consisted of a main cavern and many steep galleries. The walls are covered in painted, drawn, and engraved animals on the ancient stone.
The news of Lascaux traveled quickly and the cave was accessible to the public. People came from all around the world to see this place. The heavy traffic and change of atmosphere caused the colors and details of the art to fade and almost disappear. The once perfectly preserved, highly detailed paleolithic mural paintings could have been ruined by the thousands upon thousands of people going through the cave. In 1963, the cave was closed to the public. Only specific scientists could go into the caverns of Lascaux.
Lascaux would have been dismissed as just another cave if it were not for the magnificent paintings found. Abbe Breuil was one person who studied and tried to understand and explain the existence of the different animals found covering the walls at Lascaux. Breuil was an explorer and a scientist. Alan Houghton Brodrick (1963) called Breuil "the Father of Prehistory." In Breuil's lifetime he wanted to revolutionize prehistory which, of course, was before the invention of writing. Breuil studied caves. When he learned of Lascaux, it was a great find for him and everyone else in the world. Breuil learned of the existence of the Lascaux cave when he was staying in a little town by the name of Brive. It was the very same day that the four boys discovered Lascaux that Abbe Breuil saw sketches of the animal paintings existing on the walls, and immediately he wanted to go check the cave out. Abbe Breuil found evidence that humans lived and occupied caves from the dawn of human existence inside the caverns of Lascaux.
The opening to Lascaux was not much larger then a foxhole. As Breuil put it, "It [the cavern] gave onto a steep slope, slippery and slimey . . . with flakes of worked flint of poor quality, some fragments of reindeer horns and many pieces of conifer charcoal . . . " (Brodrick, 1963, p. 232). The pictures on the walls turned out to be quite a battle to reach. Breuil and his workers figured out that the ground was a different shape 17,000 years ago and the places on the walls with the paintings were much easier to reach. The ground had sunk deeper and deeper over the years and made it hard to reach up to the prehistoric paintings. When Breuil entered the cave, just before reaching the paintings, there was a very thick coating of calcite crystals, with some of the best-preserved pictures painted on them.
 | This drawing is a map of the Lasceaux cave showing what each gallery has in it and where it is. Click on the picture for detailed explanation. Drawn by Meghan Stedt. |
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Most people are astounded by the fact that all of the paintings have lasted thousands and thousands of years without decaying or fading. As put earlier though, if the French government hadn't closed the cave to the public, the paintings WOULD have started decaying and becoming harder and harder to see. The animals would have been lost. Breuil said that:
"The usual cause of deterioration . . . is an exchange of the air with the exterior. In summer cold air from a grotto moves out and warm air from without moves in. In winter the process is reversed, but causes no damage, whereas in summer the outside air, with a high degree of humidity, deposes on the cold cavern walls a dew' that is corrosive might lie buried in the passage floor at the foot of the picture, but excavation there, as we have seen,produced only some assegais and lamps" (concave stones) (qtd. in Brodrick, 1963, p.233).In other words, the natural removal and turning of air in Lascaux does not cause deterioration of the paintings.
The area in which the Lascaux caves are found is considered to be "the sole region of Paleolithic mural paintings" in Europe (Grand, 1967, p.34). The animal art found in the caves present different species: bulls, bison, and horses. Along with the many animals on the walls, there can be found some signs of human or semi-human representation. The human figures are not as richly defined or carefully executed as is the animal art. Grand (1967) notes that, Man's ". . . presence is a furtive, marginal one" (p. 20). Therefore not much effort was put into representing him. Animals, however, were as important to early man as life was; animals were life itself.
The depictions of animals involved in the hunt helped to assure or reassure the hunters of great success. Abbe Breuil said, "That only those peoples who lived by hunting and, collaterally, by fishing, had practiced this (hunting magic) art" (qtd. in Grand, 1967, p. 20). The fertility of the flocks and the success over the hunted animal are seen in frescoes of the caves. An important fact to note here is that these caves were not dwellings for humans, but were instead "places (that) could have served only as specially chosen repositories for the secrets of a civilization" (Grand, 1967, p. 24).
Another word that could be used to describe Lascaux would be a "Sanctuary." A sanctuary is a sacred place where sacred things are kept, in this case the pictures of the animals that kept man kind alive. It was their holy spot. Lascaux was, in other words, a holy place where the humans did not necessarily go to "pray" for a good hunt, but it was where the people would go to draw what they thought (or hoped) would be a good hunt (Baumann, 1962).
There have been different theories attempting to explain the existence of the mural paintings found in caves. The painting Grand (1967) called "Hunting Magic" looked at individual clusters or groupings of animals, while more recently, the entire collection of 2,188 animal figures found in 110 different caves has been scrutinized carefully as a whole. " . . . the portrayal of real animals by the prehistoric artist becomes a particular manifestation of a vast output directed entirely toward an almost doctrinal presentation of a duality of nature" (Grand, 1967 p. 30).
 | This is an example of a typical bull that would be found in the Lascaux cave. |
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According to Grand (1967), one of the pictures which is of a Large Bull. This bull is unique because still today the brushstrokes make it appear to be rich, velvelty, and soft. The bull has a sense of depth which is given by the use of shadowing around the eye and nostrils. Another picture is of an upside down horse at the end of one of the galleries in the cave. It is named the "Bister Horse". It has a black mane, and a brown body. This horse reveals a massive silhouette that is compared to so-called "Chinese horses." What the scientists call the "leaping cow" (5ft. 7in. long) has been suggested that the rear legs are raised up to avoid hitting the paintings of the little horses underneath him. Another type of cow which is drawn in the cave is not as large. The cow's head looks delicate, the lines are finely drawn, and has a very long forehead. One other composite animal known in Lascaux is "The Unicorn." It had a simple tail, a square mask like head, spots, and a much larger belly than any of the other paintings. (Grand, 1967). These paintings are described in vague detail to just show how the drawings were seen.
 | This is an example of a typical horse that could be found in the Lascaux cave, interpreted by Katie Crylen. |
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Cave men and women were once thought to be primitive (not as developed). They were far from humans today, but were still highly skilled) as one may think. However, the cave drawings at Lascaux proved their fine motor skills and their thought through their drawings, engravings, and the fact that they used paints, tools, and brushes to make these highly detailed animals. The Lascaux cave allows scientists to learn more about the land, people, and culture of the late Aurignacian period. It has also proven itself to be one of the greatest finds of this time period. (Grand, 1967).
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http://www.francethisway.com/regions/dordogne.php
VISIT DORDOGNE
The Dordogne is said to have 1001 castles, along with the many historical villages and towns that are scattered across the attractive rural lansdscape, and numerous decorated prehistoric caves along the UNESCO listed Vezere Valley. Not surprisingly the Dordogne is one of the most popular departments in France with visitors!
SELECTED PLACES TO VISIT IN DORDOGNE
Now, for the Big Surprise:
Another Cave has been discovered in France. It contains Cave Art dated back to over 30,000 years ago. It is one of the most important discoveries of Art. Look At This:
Ardèche (French pronunciation: [aʁ.dɛʃ]; Occitan and Arpitan: Ardecha) is a department in south-central France named after the Ardèche River.
| Location of Ardèche in France | |
| Coordinates: 44°40′N 4°25′E |
http://en.wikipedia.org/wiki/Ard%C3%A8che
Prehistoric and ancient history
The area has been inhabited by humans at least since the Upper Paleolithic, as attested by the famous cave paintings at Chauvet Pont d'Arc. The plateau of the Ardeche River has extensive standing stones (dolmens and menhirs), erected thousands of years ago.[citation needed] The river is the largest natural canyon in Europe and the caves that dot the cliffs (which go as high as 300 m (1,000 feet) are known for signs of prehistoric inhabitants (arrowheads and flint knives are often found).
http://ngm.nationalgeographic.com/ngm/data/2001/08/01/html/ft_20010801.6.html
By Jean Clottes
Photographs by 
| Brilliant scenes of animals drawn some 35,000 years ago paint a new picture of the origins of art. |
| Get a taste of what awaits you in print from this compelling excerpt. Compared with the 20,000-year-old images at Lascaux or the 17,000-year-old creations in Spain’s Altamira, the art of the Ardèche received scant media attention —until the discovery of Chauvet Cave in 1994. The first photographs captivated specialists and the public alike. For decades scholars had theorized that art had advanced in slow stages from primitive scratchings to lively, naturalistic renderings. Surely the subtle shading, ingenious use of perspective, and elegant lines of Chauvet’s masterworks placed them at the pinnacle of that progression. Then carbon dates came in, and prehistorians reeled. Approximately twice as old as those in the more famous caves, Chauvet’s images represented not the culmination of prehistoric art but its earliest known beginnings. A few thousand years after anatomically modern humans appeared in Europe, cave painting was as sophisticated as it would ever be. Get the whole story in the pages of National Geographic magazine. |
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http://www.pnas.org/search?fulltext=chauvet&submit=yes
Further constraints on the Chauvet cave artwork elaboration 10.1073...France. Since its discovery, the Chauvet cave elaborate artwork called into question...demonstrate that the cliff overhanging the Chauvet cave has collapsed several times since...
Further constraints on the Chauvet cave artwork elaboration
Since its discovery, the Chauvet cave elaborate artwork called into question our understanding of Palaeolithic art evolution and challenged traditional chronological benchmarks [Valladas H et al. (2001) Nature413:419–479]. Chronological approaches revealing human presences in the cavity during the Aurignacian and the Gravettian are indeed still debated on the basis of stylistic criteria [Pettitt P (2008) J Hum Evol55:908–917]. The presented 36Cl Cosmic Ray Exposure ages demonstrate that the cliff overhanging the Chauvet cave has collapsed several times since 29 ka until the sealing of the cavity entrance prohibited access to the cave at least 21 ka ago. Remarkably agreeing with the radiocarbon dates of the human and animal occupancy, this study confirms that the Chauvet cave paintings are the oldest and the most elaborate ever discovered, challenging our current knowledge of human cognitive evolution.
Freely available online through the PNAS open access option.
http://www.bradshawfoundation.com/chauvet/
THE WORLD'S OLDEST CAVE ART PAINTINGS? |
The Chauvet Cave is one of the most famous prehistoric rock art sites in the world. Located in the Ardeche region of southern France, along the bank of the river Ardeche near the Pont-d'Arc, this cave was only discovered as recently as 1994, happened upon by a small team of cavers led by Jean-Marie Chauvet. Chauvet Cave's importance is based on two factors: firstly, the aesthetic quality of these Palaeolithic cave paintings, and secondly, their great age. With one exception, all of the cave art paintings have been dated between 30,000 & 33,000 years ago. In 1998, the eminent French prehistorianDr. Jean Clottes headed the first research team in Chauvet Cave, under great security.
Dr Jean Clottes headed the
first Chauvet Cave research team
first Chauvet Cave research team
CHAUVET CAVE PAINTINGS GALLERY |
As part of the France Rock Art Archive the Bradshaw Foundation present a gallery of photographs from the Chauvet Cave. Click photographs for enlargements. Cave painting descriptions open in the panel to the right.
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| Red Bears | Panel of Red Dots | Large Horse Panel | ||
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| The Owl | Panel of the Lions | The Sorcerer | ||
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| Horses facing one another | Horse in the Central recess | The Megaloceros | Fighting Rhino & Four Horses | |||
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| Bear Skull Altar | Two Black Lions | The Panther Panel | ||
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Bison from the
End Chamber of
Chauvet Cave
End Chamber of
Chauvet Cave
Chauvet Cave
From Wikipedia, the free encyclopedia
The Chauvet-Pont-d'Arc Cave in the Ardèche department of southern France is a cave that contains the earliest known cave paintings, as well as other evidence of Upper Paleolithiclife.[1] It is located near the commune of Vallon-Pont-d'Arc on a limestone cliff above the former bed of the Ardèche River. Discovered on December 18, 1994, it is considered one of the most significant prehistoric art sites.
The cave was first explored by a group of three speleologists: Eliette Brunel-Deschamps, Christian Hillaire, and Jean-Marie Chauvet, for whom it was named. Chauvet (1996) has a detailed account of the discovery. In addition to the paintings and other human evidence, they also discovered fossilized remains, prints, and markings from a variety of animals, some of which are now extinct. Further study by French archaeologist Jean Clottes has revealed much about the site, though the dating has been the matter of some dispute.
Features
The cave is situated above the previous course of the Ardèche River before the Pont d'Arc opened up. The gorges of the Ardèche region are the site of numerous caves, many of them having some geological or archaeological importance. The Chauvet Cave is uncharacteristically large and the quality, quantity, and condition of the artwork found on its walls have been called spectacular. Based on radiocarbon dating, the cave appears to have been used by humans during two distinct periods: the Aurignacian and the Gravettian.[2]Most of the artwork dates to the earlier, Aurignacian, era (30,000 to 32,000 years ago). The later Gravettian occupation, which occurred 25,000 to 27,000 years ago, left little but a child's footprints, the charred remains of ancient hearths and carbon smoke stains from torches that lit the caves. After the child's visit to the cave, evidence suggests that due to a landslide which covered its historical entrance, the cave had been untouched until it was discovered in 1994.[3] The footprints may be the oldest human footprints that can be dated accurately.
The soft, clay-like floor of the cave retains the paw prints of cave bears along with large, rounded, depressions that are believed to be the "nests" where the bears slept. Fossilized bones are abundant and include the skulls of cave bears and the horned skull of an ibex.
Paintings
Hundreds of animal paintings have been catalogued, depicting at least 13 different species, including some rarely or never found in other ice age paintings. Rather than depicting only the familiar animals of the hunt that predominate in Paleolithic cave art, i.e. horses, cattle, reindeer, etc., the walls of the Chauvet Cave include many predatory animals: Cave lions, panthers, bears, owls, and Cave Hyenas. Also pictured are rhinos.
Typical of most cave art, there are no paintings of complete human figures, although there is one possible partial "Venus" figure that may represent the legs and genitals of a woman. Also a chimerical figure may be present; it appears to have the lower body of a woman with the upper body of a bison. There are a few panels of red ochre hand prints and hand stencils made by spitting pigment over hands pressed against the cave surface. Abstract markings—lines and dots—are found throughout the cave. There are also two unidentifiable images that have a vaguely butterfly shape to them. This combination of subjects has led experts in prehistoric art and cultures to believe that there was likely a ritual, shamanic, or magical aspect to these paintings.
The artists who produced these unique paintings used techniques not often seen in other cave art. Many of the paintings appear to have been made only after the walls were scraped clear of debris and concretions, leaving a smoother and noticeably lighter area upon which the artists worked. Similarly, a three-dimensional quality is achieved by incising or etching about the outlines of certain figures. This visually emphasizes some of the animals and allows torch light to cast shadows about the edges.
Dating
The cave contains the oldest known cave paintings, based on radiocarbon dating of "black from drawings, from torch marks and from the floors", according to Jean Clottes. Clottes concludes that the "dates fall into two groups, one centred around 27,000 - 26,000 BP and the other around 32,000 - 30,000 BP."[1] As of 1999, the dates of 31 samples from the cave had been reported. The earliest, sample Gifa 99776 from "zone 10", dates to 32,900±490 BP.[5]
However, some archaeologists have questioned these dates. Christian Züchner, based on stylistic comparisons with similar paintings at other well dated sites, is of the opinion that the red paintings are from the Gravettian period (c. 28,000 – 23,000 BP) and the black paintings are from the Early Magdalenian period (early part of c. 18,000 – 10,000 BP).[6] Pettitt and Bahn also believe the dating is inconsistent with the traditional stylistic sequence and that there is uncertainty about the source of the charcoal used in the drawings and the extent of surface contamination on the exposed rock surfaces.[7][8] New stylistic studies show that some Gravettian engravings are superimposed on black paintings proving the paintings' older origins.[9]
By 2011, over 80 radiocarbon dates had been taken, with samples from torch marks and from the paintings themselves, as well as from animal bones and charcoal found on the cave floor. The radiocarbon dates from these samples suggest that there were two periods of creation in Chauvet: 35,000 years ago and 30,000 years ago.[10]
A research article published in Proceedings of the National Academy of Sciences in May 2012 by the scientists from the University of Savoy, Aix-Marseille University and the Centre National de Prehistoire confirmed that the paintings were created by the people in the Aurignacian era, between 30,000 and 32,000 years ago. The researchers’ findings are based on the analysis using geomorphological and chlorine-36 dating of the rockslide surfaces around what is believed to be the cave’s only entrance. Their analysis showed that the entrance was sealed by collapsing cliff some 29,000 years ago. Their findings put the date of human presence in the cave and the paintings agreeing with that are deduced from radiocarbon dating, between 30,000 – 32,000 years old.
From: National Geographic, August 2001
These mineral stained limestone cliffs along the deep gorge of the Ardèche River in southern France have long attracted cavers eager to explore any uncharted crevice. Here in 1994 three spelunkers found deep chambers filled with paintings, engravings and drawings created some 35 000 years ago.
Feature Presentation:
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One of the Best. This is a Great Discovery.
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Published on Mar 19, 2012 by xP3AC3MAK3Rx
Cave Of Forgotten Dreams (2010)
Contemplative and reflective, Cave of Forgotten Dreams confirms Werner Herzog as one of the finest and most original chroniclers of the natural world. His abiding fascination with flight, which fueled films like Little Dieter Needs to Fly and White Diamond, finds counterpoint here as he goes below ground to document the oldest paintings known to man. Discovered in 1994, France's Chauvet Cave offers a privileged insight into another time and place. While the walls feature artwork from over 30,000 years ago, ancient animal bones cover the ground, and layers of sparkly calcite coat every surface (paleontologists believe humans never actually lived there). In his narration, Herzog explains that he and his crew had to obtain special permission, could only shoot for a few hours during specific seasons, and couldn't leave the designated walkways, so cinematographer Peter Zeitlinger (Bad Lieutenant: Port of Call New Orleans) attached a camera to a stick to capture the painting of a minotaur and a woman that adorns a prominent outcropping.
Contemplative and reflective, Cave of Forgotten Dreams confirms Werner Herzog as one of the finest and most original chroniclers of the natural world. His abiding fascination with flight, which fueled films like Little Dieter Needs to Fly and White Diamond, finds counterpoint here as he goes below ground to document the oldest paintings known to man. Discovered in 1994, France's Chauvet Cave offers a privileged insight into another time and place. While the walls feature artwork from over 30,000 years ago, ancient animal bones cover the ground, and layers of sparkly calcite coat every surface (paleontologists believe humans never actually lived there). In his narration, Herzog explains that he and his crew had to obtain special permission, could only shoot for a few hours during specific seasons, and couldn't leave the designated walkways, so cinematographer Peter Zeitlinger (Bad Lieutenant: Port of Call New Orleans) attached a camera to a stick to capture the painting of a minotaur and a woman that adorns a prominent outcropping.
....this is brendasue signing off from Rainbow Creek.
See You next time.
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