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Centre de Recherche et d'Etudes pour l'Art Préhistorique Emile Cartailhac

 

PALAEOLITHIC ART IN WESTERN EUROPE

     Our work on European Paleolithic Art follows the central concept that all graphic and symbolic systems play an essential role in structuring social relations and in establishing exchange networks. By trying to determine their growth, distribution and possible exchanges, we are hoping to establish a true human geography. Two main themes have been discussed these past years. The first deals with the oldest forms of graphic expressions attributed to Anatomically Modern Man and the second, more diachronic theme is the definition of cultural regions in Europe between 35000 and 10000 BP.

Emergence and expression of symbols in the Upper Palaeolithic

     The coming together of knowledge relating to a graphic communication system and of a language must have had a considerable impact on the first societies of hunter-gatherers in terms of social organisation, acquisition of resources and perception of the world. We have tried to evaluate this hypothesis in the framework of a project entitled « The emergence and functions of semiological systems in human groups during the Upper Palaeolithic » which was part of a project established by the CNRS in 2000 called « The Origin of Man, Language and Languages » (OHLL Origine de l'Homme, du Langage et des Langues). Our research dealt primarily with the oldest forms of artistic expressions whether in graphic, cave or portable form during the Aurignacian period between 35000 and 30000 BP. From these very early artistic expressions, we can observe similar habits and techniques over vast geographic areas as well as clear regional specifications, probably corresponding to already well-defined territories (Fritz et Tosello 2004, 2005 ; Sauvet et al. 2007). This subject was also developed by S. Petrognani (thesis at the Université de Paris-I-Sorbonne) with our collaboration. This recurring scheme of both universal and regional specifications may be observed throughout the Upper Palaeolithic and brought us to look at the notion of cultural areas.

Aurignacian representations of Cave and Portable Art. "Embodied" Mammoths: A) Le Bouil-Bleu (Charente-Maritime) ; B) Chauvet (Ardèche). Rhinoceros : C) L'Aldène (Hérault) ; D) Chauvet (Ardèche).

Cultural areas and human geography

     It would seem that the relations between groups on vast scales such as the regions of Aquitaine, the Pyrenees or the Cantabrian Region varied enormously over time. With regard to graphic expressions, we can observe such obvious similarities in terms of technique, style and theme that we must consider the possibility of direct contact between groups despite the formidable distances between the sites. Nevertheless, such analogies can be deceiving when looked at superficially. When trying to establish cultural groups, we must consider both a precise analysis of style and technique along with other objects such as body ornaments, weapons and tools. Certain technical or form characteristics have a limited territorial expansion whilst others are largely diffused. Within a given region, we may find subtle variations from one valley to the next. All these elements provide valuable information on the contacts and influences between groups on varying geographic scales and on their evolution over time (Fortea et al. 2007, Fritz et al. 2007). R. Bourrillon's thesis (Université de Toulouse-Le Mirail) on human representations also shows the fluctuations of these exchange networks. Current research in the Marsoulas Cave (Haute-Garonne) indicates that the area of the Pyrenees was subject to influences from the North of Aquitaine and the Cantabrique Region around 15000 BP, both in terms of bone production and artistic expression (Fritz et Tosello 2005).

Similarities in terms of materials and art. In Marsoulas (Hte-Garonne), were found spears of Lussac-Angles type (Vienne) and the striated engraving of a hind in Cantabrian style.

     Between 20000 and 16000 BP, our analysis shows that the Cantabrian region developed a strong stylistic originality during the Solutrean and the early Magdalenian whilst a strong convergence can de observed during the Middle Magdalenian between the Pyrenees and the Périgord, so much so that the culture seems to have been unified on this vast territory. Around 10000 BP, at the end of the Tardiglacial, the last groups of Magdalenians once again show signs of regional diversification and divergent evolution (Sauvet et al. 2008). The database ARIANE which allows a rapid visualisation of numerous graphic documents is a precious tool in this research.

See the movie by Marc Azéma and Gilles Tosello : « A journey of imagination (Un imaginaire qui voyage) », made by Passé Simple and produced by the Conseil Général de l'Ariège and the Parc de la Préhistoire de Tarascon-sur-Ariège.

Bibliography

Fortea Perez J., Fritz C., Garcia M., Sanchidrián Tortí J.L., Sauvet G., Tosello G. (2004). L'art pariétal paléolithique à l'épreuve du style et du carbone-14. In La spiritualité (colloque commission VIII UISPP, Liège, décembre 2003) (M. Otte éd.), ERAUL 106, p. 163-175. (pdf)

Fritz C., Tosello G. (2004). Grotte Chauvet-Pont-d'Arc : approche structurelle et comparative du Panneau des Chevaux. In M. Lejeune et A.-C. Welté (dir.) «L'Art du Paléolithique supérieur », ERAUL, 107, p. 69-86, Liège.

Fritz C., Tosello G. (2005). Les dessins noirs de la grotte Chauvet-Pont-d'Arc : essai sur leur originalité dans le site et leur place dans l'art aurignacien. Bulletin de la Société préhistorique Française, 102, p. 159-171.

Fritz C., Tosello G. (2005). Entre Périgord et Cantabres : les Magdaléniens de Marsoulas. In J. Jaubert et M. Barbaza (eds) Territoires, déplacements, mobilité, échanges durant la préhistoire (126ème congrès du CTHS, Toulouse, 2001), p. 311-327.

Fritz C., Tosello G., Sauvet G., (2007). Groupes ethniques, territoires, échanges : la « notion de frontière » dans l'art magdalénien. In N. Cazals, J. Gonzalez Urquijo et X. Terradas (coord.) Frontières naturelles et frontières culturelles dans les Pyrénées préhistoriques. Univ de de Cantabrie: Santander, p. 165-181.

Sauvet G., Fortea Perez J., Fritz C., Tosello G. (2008). Crónica de los intercambios entre los grupos humanos paleolíticos. La contribución del arte para el periodo 20000-12000 BP. Zephyrus, LXI, p. 33-56. (pdf)

Sauvet G., Fritz C., Tosello G. (2007). L'art aurignacien: émergence, développement, diversification. In N. Cazals, J. Gonzalez Urquijo et X. Terradas (coord.) Frontières naturelles et frontières culturelles dans les Pyrénées préhistoriques. Univ de de Cantabrie: Santander, p. 319-338.

Sauvet G., Fritz C., Tosello, G. (2008). Emergence, et expansion de l'art aurignacien. Préhistoire, Art et Sociétés, LXIII, p. 33-46.