Façons de peindre au Magdalénien - article ; n°6 ; vol.90, pg 426-432

Clottes Jean, Michel Menu, Philippe Walter, Daniel Vigears

Description

Bulletin de la Société préhistorique française - Année 1993 - Volume 90 - Numéro 6 - Pages 426-432
RESUME La découverte de l'élaboration d'une peinture véritable au Magdalénien dans les cavernes ariégeoises a permis de comprendre des relations objectives entre certains sites habités et des grottes ornées proches. L'existence de plusieurs modes de préparation nous a incités à rechercher les limites des artistes dans leur maîtrise technique des ressources naturelles. Un nouveau système macrophotographique apporte des données nouvelles sur les différentes façons de peindre des artistes paléolithiques.
ABSTRACT Thanks to the existence of paint recipes in the cave paintings during the Magdalenian period in the French Pyrenees, we have been able to show the existence of objective links between the living areas and the cave sanctuaries. The recipes bear testimony to an unexpected conservation process developed by the earliest artists and we are now looking for limits in their technical expertise and in their knowledge of the economical possibilities in nature. Here we applied a new macrophotographic system which brings new facts to light about the different painting manners of the Niaux artists, from direct observation of the paintings. Thus, we were able to identify the different components of the paint and to recognize recipes F (feldspath) and В (biotite) corresponding respectively to the Middle and the Late Magdalenian periods. On the most famous black representations from the Salon Noir of Niaux (Ariège, France), we observed a preliminary sketch drawn by the Prehistoric artists with a charcoal stick. Furthermore, with macrophoto- graphs, we were able to show evidence of the use of a paint brush in the Cartailhac Gallery, also in Niaux.
7 pages
Source : Persée ; Ministère de la jeunesse, de l’éducation nationale et de la recherche, Direction de l’enseignement supérieur, Sous-direction des bibliothèques et de la documentation.

Informations

• Publié par: BULLETIN_DE_LA_SOCIETE_PREHISTORIQUE_FRANCAISE
• Publié le: 01 janvier 1993
• Nombre de lectures: 17
• Langue: Français
• Poids de l'ouvrage: 1 Mo

Extrait

Michel Menu

Philippe Walter

Daniel Vigears

Jean Clottes

Façons de peindre au Magdalénien

In: Bulletin de la Société préhistorique française. 1993, tome 90, N. 6. pp. 426-432.

Résumé

RESUME La découverte de l'élaboration d'une peinture véritable au Magdalénien dans les cavernes ariégeoises a permis de

comprendre des relations objectives entre certains sites habités et des grottes ornées proches. L'existence de plusieurs modes

de préparation nous a incités à rechercher les limites des artistes dans leur maîtrise technique des ressources naturelles. Un

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Pyrenees, we have been able to show the existence of objective links between the living areas and the cave sanctuaries. The

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macrophotographic system which brings new facts to light about the different painting manners of the Niaux artists, from direct

observation of the paintings. Thus, we were able to identify the different components of the paint and to recognize recipes F

(feldspath) and В (biotite) corresponding respectively to the Middle and the Late Magdalenian periods. On the most famous black

representations from the Salon Noir of Niaux (Ariège, France), we observed a preliminary sketch drawn by the Prehistoric artists

with a charcoal stick. Furthermore, with macrophoto- graphs, we were able to show evidence of the use of a paint brush in the

Cartailhac Gallery, also in Niaux.

Citer ce document / Cite this document :

Menu Michel, Walter Philippe, Vigears Daniel, Clottes Jean. Façons de peindre au Magdalénien. In: Bulletin de la Société

préhistorique française. 1993, tome 90, N. 6. pp. 426-432.

doi : 10.3406/bspf.1993.9672

http://www.persee.fr/web/revues/home/prescript/article/bspf_0249-7638_1993_num_90_6_9672