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Paleolithic Art: A Cultural History

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Abstract

In this article we review the history of the terms and ideas that have been used to conceptualize Paleolithic art since the end of the 19th century. Between 1900 and 1970, prehistoric representations were typically divided into two main groups: parietal art (including rock and cave art) and portable (or mobiliary) art. This classification gave rise to asymmetrical attitudes about Paleolithic images. In particular, many portable and nonfigurative representations were overlooked while a small number of cave paintings were praised for their realism. Although the portable/parietal division has remained a popular divide among archaeologists, in the last 30 years increasing numbers of specialists have crossed the boundaries established by these categories. They have developed new frameworks within which more kinds of images are meaningfully approached and incorporated into the analysis of Paleolithic art and symbolism. The emergence of new approaches to Pleistocene imagery is the result of a number of interrelated processes, including the globalization of Paleolithic art studies, the impact of new discoveries, and the development of new approaches to art, images, and symbolism.

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Acknowledgments

Research for this paper was generously supported by Memorial University of Newfoundland (Canada) and Instituto Internacional de Investigacions Prehistoricas de Cantabria (Spain). We are grateful to those colleagues who commented on earlier versions and offered assistance with our research, including Jean Clottes, Noël Coye, Claude Blanckaert, Víctor M. Fernández, César González Sáinz, Arnaud Hurel, John Robb, Nathan Schlanger, Alain Schnapp, Lawrence G. Straus, Eduardo Palacio Pérez, and Randall White. Thanks go to Chris Henshilwood, Francesco D’Errico, and especially Jean Clottes for the photographs used in this paper. We are deeply grateful to the seven anonymous JARE referees for their constructive comments. Finally, we especially thank Jennifer Selby for her editorial assistance and Gary Feinman for his support.

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  1. Department of Archaeology, Memorial University of Newfoundland, St. John’s, Newfoundland, A1C 5S7, Canada

    Oscar Moro Abadía

  2. Instituto Internacional de Investigaciones Prehistóricas, Edificio Interfacultativo, Avda. de los Castros s/n, Universidad de Cantabria, 39011, Santander, Spain

    Manuel R. González Morales

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Correspondence to Oscar Moro Abadía.

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Moro Abadía, O., González Morales, M.R. Paleolithic Art: A Cultural History. J Archaeol Res 21, 269–306 (2013). https://doi.org/10.1007/s10814-012-9063-8

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