Reflections on the Art of the Cave of Altamira.
Discovery of the cave of Altamira in 1879 introduced a new aspect to ideas on human evolution, requiring a fresh approach to previous notions of life and customs among prehistoric groups. In the final years of the 19th century the prevailing view of prehistoric life was still coloured by the prejudi...
| Published in: | Proceedings of the Prehistoric Society |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | English |
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Cambridge University Press (CUP)
1991
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| Online Access: | http://dx.doi.org/10.1017/s0079497x00004898 https://www.cambridge.org/core/services/aop-cambridge-core/content/view/S0079497X00004898 |
| Summary: | Discovery of the cave of Altamira in 1879 introduced a new aspect to ideas on human evolution, requiring a fresh approach to previous notions of life and customs among prehistoric groups. In the final years of the 19th century the prevailing view of prehistoric life was still coloured by the prejudice and concepts which had marked early discussion on the origin of man. From what was known of their tools and art forms, early men were presented as living in simple communities which were considered equivalent to the ‘primitive peoples’ being described, often with a Euro-centric superiority, by contemporary ethnographers. The already classical volumes of the period, such as the Reliquiae Aquitanicae recording Lartet and Christy's discoveries, were full of interesting parallels to Eskimos and Bushmen. Up to this time, known Palaeolithic art was confined to engraved bone, some of it of high technical competence as at Chaffaud and La Madeleine. Consequently when the discovery of Altamira was presented at the Lisbon Congress it was received with some degree of caution. |
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