{"id":62,"date":"2024-07-10T22:43:44","date_gmt":"2024-07-10T22:43:44","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/chapter\/elements-of-art-as-demonstrated-at-the-lascaux-cave\/"},"modified":"2025-04-01T20:34:18","modified_gmt":"2025-04-01T20:34:18","slug":"elements-of-art-as-demonstrated-at-the-lascaux-cave","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/chapter\/elements-of-art-as-demonstrated-at-the-lascaux-cave\/","title":{"raw":"1.3 Elements of Art as Demonstrated at the Lascaux Cave Dordogne, France","rendered":"1.3 Elements of Art as Demonstrated at the Lascaux Cave Dordogne, France"},"content":{"raw":"<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n[caption id=\"\" align=\"alignright\" width=\"391\"]<img src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image1-4.jpeg\" alt=\"A painting of people from the Neolithic age, painting animals on a cave wall.\" width=\"391\" height=\"323\" \/> <strong>1.9<\/strong> Art of the Painting of the Lascaux Caves, France.<sup><a href=\"#sdfootnote1sym\">1<\/a><\/sup>[\/caption]\r\n<p class=\"import-BodyText\" style=\"margin-left: 27.95pt; margin-right: 319.9pt;\">Paintings are dumb. They don\u2019t say a word. Artists can communicate their beliefs and ideas only by means of carefully chosen basic elements. The relationships of these elements to one another and to the work of art as a whole determine the organization of that work. The Lascaux artists provide clear demonstrations of the formal elements of art, which include:<\/p>\r\n\r\n<ul>\r\n \t<li style=\"list-style-type: none;\">\r\n<ul>\r\n \t<li style=\"list-style-type: none;\">\r\n<ul>\r\n \t<li>\r\n<p class=\"indent\">Line<\/p>\r\n<\/li>\r\n \t<li>\r\n<p class=\"indent\">Shape<\/p>\r\n<\/li>\r\n \t<li>\r\n<p class=\"indent\">Space, perspective and size<\/p>\r\n<\/li>\r\n \t<li>\r\n<p class=\"indent\">Texture<\/p>\r\n<\/li>\r\n \t<li>\r\n<p class=\"indent\">Media and tools<\/p>\r\n<\/li>\r\n \t<li>\r\n<p class=\"indent\">Color<\/p>\r\n<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<\/li>\r\n<\/ul>\r\n<strong>LINES <\/strong>are made by the movement of an implement. They give direction and organize the space. There are five kinds of lines: vertical, horizontal, diagonal, curved or straight. Lines may vary in thickness, clarity, smoothness and direction.\r\n\r\nThe straight, diagonal and downward slashes in image 1.10 leave no question about the movement of an implement. \u201cStroke, stroke, stroke.\u201d The <strong>rhythm<\/strong> of the lines is even and intentional. The fuzzy lines around the perimeter of the bison suggest texture. By way of contrast, the lines forming the legs and feet are curved, smooth and delicate.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"620\"]<img src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image2-2.jpeg\" alt=\"Painting of a bison striped by arrows from the Lascaux Caves in France.\" width=\"620\" height=\"465\" \/> <strong>1.10<\/strong> Lascaux. Nave (left wall). Bison Striped by Arrows. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote2sym\">2<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\nLines may also be <strong>implied<\/strong>, encouraging the viewer to be a participant in the scene. In image 1.11, this author has added red lines to demonstrate the suggestion of forward, confrontational movement.\r\n\r\n<\/div>\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n[caption id=\"attachment_1641\" align=\"aligncenter\" width=\"553\"]<img class=\"wp-image-1641\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls-.jpg\" alt=\"Cave painting of animals in a cave. Diagonal red lines are added to emphasize movement\" width=\"553\" height=\"378\" \/> <strong>1.11<\/strong> Left wall of the Hall of Bulls, Lascaux II. Reproduction of Lascaux Cave, 16,000-14,000 BCE, Dordogne, France.<a href=\"#sdfootnote3sym\"><sup>3<\/sup><\/a>[\/caption]\r\n\r\n<\/div>\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n<strong>SHAPES<\/strong> are actual or implied \"closed lines.\" They must have length and width. Shapes may be regular or irregular, symmetrical or asymmetrical, organic or geometric. Shapes often create a feeling or an emotion.\r\n\r\n<em>Are the sames of the heads in images 1.12 and 1.13 <strong>organic<\/strong> (national forms) or <strong>geometric<\/strong> (ideal, abstract forms)?<\/em> (Red lines have been added by this author.)\r\n\r\n[caption id=\"attachment_301\" align=\"aligncenter\" width=\"2300\"]<img class=\"wp-image-301 size-full\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer.jpg\" alt=\"An abstracted drawing of a black stag, depicting the head and exaggerated antlers.Drawings on a cave wall of two deer heads with antlers. There is a red triangle indicating the shape of one of the heads.\" width=\"2300\" height=\"935\" data-wp-editing=\"1\" \/> <strong>1.12<\/strong> Lascaux. Megaloceros (The Black Stag) in the Axial Gallery. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote4sym\">4<\/a><\/sup> <strong>1.13<\/strong> Lascaux. Wall Painted Deer. 16,000-14,000 BCE. Dordogne, France.<sup><a href=\"#sdfootnote5sym\">5<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\nGeometric shapes are more popular than one might imagine. Artist Paul C\u00e9zanne stated: \u201cAll natural forms can be reduced to spheres, cones and cylinders. One must begin with these simple basic elements and then one will be able to make everything one wants.\u201d\r\n\r\n<strong>SPACE<\/strong> suggests the relationships between shapes (or forms). Space is achieved through <strong>size<\/strong>, <strong>overlapping<\/strong>, <strong>shading <\/strong>and <strong>foreshortening <\/strong>of shapes. <strong>Perspective <\/strong>is the optical illusion of three-dimensional space on a two-dimensional surface. These techniques add <strong>realism <\/strong>to a creation, and may even \u201cfool the eye\u201d (<em>trompe-l\u2019oeil<\/em> ).\r\n\r\nIn image 1.14, the bull is shown in <strong>profile<\/strong>, but his horns are shown <strong>frontally<\/strong>. For your comparison, the drawing [image 1.15] shows a frontal view. This twisted, combined frontal and profile perspective gives the bull more visual power and magical properties.\r\n\r\nYes, <strong>SIZE <\/strong>is important in these paintings. The line from the head and rump to the tail of the horse is 11\u2019 6\u201d long!\r\n\r\nImagine standing on the scaffolding and starting that long line. This artist had a complete vision of the animal. (Certainly the artist at Lascaux had a more steady hand than mine!)\r\n\r\n[caption id=\"attachment_304\" align=\"alignleft\" width=\"433\"]<img class=\"wp-image-304\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall.jpg\" alt=\"Cave painting of a herd of horses on the Lascaux Wall\" width=\"433\" height=\"297\" \/> <strong>1.14<\/strong> Lascaux Wall. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote6sym\">6<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"attachment_54\" align=\"alignright\" width=\"203\"]<img class=\"wp-image-54 size-full\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image10.png\" alt=\"A simplistic, frontal view of a bull.\" width=\"203\" height=\"225\" \/> <strong>1.15<\/strong> Frontal view of a bull.<sup><a href=\"#sdfootnote7sym\">7<\/a><\/sup>[\/caption]\r\n\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n<img alt=\"\" \/>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<\/div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong style=\"text-align: initial; font-size: 1em;\">TEXTURE <\/strong><span style=\"text-align: initial; font-size: 1em;\">suggests the sensation of touch, such as rough, smooth, wet or even woolly. Without a doubt the texture of the \u201cLittle Horse\u201d [image 1.16] is fluffier than the so-called \u201cChinese Horse\u201d [image 1.17]. The natural <\/span><strong style=\"text-align: initial; font-size: 1em;\">relief <\/strong><span style=\"text-align: initial; font-size: 1em;\">of the walls may have suggested specific animals, to which the artist may have added <\/span><strong style=\"text-align: initial; font-size: 1em;\">actual <\/strong><span style=\"text-align: initial; font-size: 1em;\">or <\/span><strong style=\"text-align: initial; font-size: 1em;\">implied <\/strong><span style=\"text-align: initial; font-size: 1em;\">texture.<\/span>\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"283\"]<img src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image11-1.jpeg\" alt=\"Lascaux cave painting of a small horse.\" width=\"283\" height=\"189\" \/> <strong>1.16<\/strong> Lascaux. Axial Gallery, right wall, Little Horse. 16,000-14,000 BCE Dordogne, France.<sup><a href=\"#sdfootnote8sym\">8<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"attachment_56\" align=\"alignleft\" width=\"262\"]<img class=\"wp-image-56\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1.jpeg\" alt=\"Lascaux cave painting of a Chinese horse.\" width=\"262\" height=\"197\" \/> <strong>1.17<\/strong> Lascaux. Chinese Horse. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote9sym\">9<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nAll objects have a physical texture. <em>What do you think is the story told by the differing textures of these horses?<\/em>\r\n\r\nAn artist must select the <strong>MEDIA<\/strong> and <strong>TOOLS<\/strong> he or she will use.\r\n<ul>\r\n \t<li><em>What does the choice of media tell us about these people?<\/em><\/li>\r\n \t<li><em>What tools might they have used?\u00a0<\/em><\/li>\r\n<\/ul>\r\nTools including lamps, scaffolding and paint \"brushes,\" were our earliest technology. They were the initial act of extending our control over nature. The remains of oak wood used for scaffolding have been found at Lascaux.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"532\"]<img class=\"\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image13-1.jpeg\" alt=\"image\" width=\"532\" height=\"383\" \/> <strong>1.18<\/strong> Lascaux: an oil lamp (a deer fat lamp) found in the sediments in the floor of the shaft. Magdalenian culture, 17,000 BCE. Shaped like a large spoon made of red sandstone, it is 8 \u00be inches long by 4 3\/16 inches wide and 1 \u00bc inches thick. The lamp is finely polished and symmetrical. Its shallow oval cup serves as a receptacle for fuel. The upper surface of the handle is decorated with two abstract signs of chevrons fitted into each other, such as are found painted or engraved in various parts of the cave. When the lamp was discovered, it still contained sooty substances grouped in a circle at the bottom of the cup. These particles were tested and determined to be the remains of a juniper wick used for ignition. Dordogne. France.<sup><a href=\"#sdfootnote10sym\">10<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n<div>\r\n\r\n&nbsp;\r\n\r\nFor these paintings, earth pigments were mixed with animal fat. Red came from hematite (iron oxide or red ocher). Black was made from manganese dioxide or charcoal. The white is kaolin or chalk. Minerals were heated to produce yellow, brown, and violet. No green or blue was used in these paintings.\r\n\r\n<strong style=\"text-align: initial; font-size: 1em;\">COLOR <\/strong><span style=\"text-align: initial; font-size: 1em;\">conveys information and emotion. Color may have a sacred or symbolic function.<\/span>\r\n\r\n<\/div>\r\n(The Yellowstone Bull stepped out in front of my car and declared, \u201cI won\u2019t move until you take my picture!\u201d [image 1.19] Oh! I get the message. It\u2019s spring!! Thanks.)\r\n\r\n<em>What<\/em> <em>are<\/em> <em>the<\/em> <em>white<\/em> <em>spaces<\/em> <em>at<\/em> <em>the<\/em> <em>top<\/em> <em>on<\/em> <em>the<\/em> <em>bulls\u2019<\/em> <em>legs<\/em> <em>in<\/em> <em>image<\/em> <em>1.20<\/em> <em>all<\/em> <em>about?<\/em> (The red circles were added by this author.)\r\n\r\n[caption id=\"\" align=\"alignleft\" width=\"301\"]<img class=\"\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image14-1.jpeg\" alt=\"image\" width=\"301\" height=\"226\" \/> <strong>1.19<\/strong> Yellowstone Bull.<sup><a href=\"#sdfootnote11sym\">11<\/a><\/sup>[\/caption]\r\n\r\n[caption id=\"attachment_305\" align=\"alignleft\" width=\"302\"]<img class=\"wp-image-305\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison.jpg\" alt=\"\" width=\"302\" height=\"227\" \/> <strong>1.20<\/strong> Two Bison (aka Crossed Bison) in the nave. 16,000- 14,000 BCE Lascaux Cave, Dordogne, France. Combined length 8 feet. The artists used the concavity of the wall to create the illusion of the two bison galloping at full speed toward the viewer.<sup><a href=\"#sdfootnote12sym\">12<\/a><\/sup>[\/caption]\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<div class=\"textbox\" style=\"text-align: center;\"><em>Are<\/em> <em>the<\/em> <em>colors<\/em> <em>used<\/em> <em>at<\/em> <em>Lascaux<\/em> <strong><em>monochromatic<\/em><\/strong> <em>or<\/em> <strong><em>polychromatic<\/em><\/strong><em>?<\/em> <em>What<\/em> <em>do<\/em> <em>we<\/em> <em>learn<\/em> <em>from<\/em> <em>the<\/em> <em>colors?<\/em><\/div>\r\n<\/div>\r\n\r\n[caption id=\"attachment_60\" align=\"alignright\" width=\"283\"]<img class=\"wp-image-60 \" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17.jpeg\" alt=\"\" width=\"283\" height=\"366\" \/> <strong>1.21<\/strong> Axial Gallery overview of the Animals on the Ceiling. Lascaux (Dordogne) France (16,000-14,000 BCE).<sup><a href=\"#sdfootnote13sym\">13<\/a><\/sup>[\/caption]\r\n\r\nTime-Life photographer Ralph Morse had the unique opportunity to visit the caves shortly after they were opened in 1947. His statement expresses the \u201cWOW\u201d that we feel when we encounter Paleolithic art: \u201cThe first sight of those paintings was simply unbelievable. I was amazed at how the colors held up after thousands of years\u2014like they were painted the day before. Most people don\u2019t realize how huge some of the paintings are.\u201d\r\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"507\"]<img class=\"\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image19.jpeg\" alt=\"image\" width=\"507\" height=\"693\" \/> <strong>1.22<\/strong> Lascaux: Animals on the Ceiling. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote14sym\">14<\/a><\/sup>[\/caption]\r\n\r\n<\/div>\r\nThe last images we will consider are views of the ceiling, first, as it may be seen from inside the cave and secondly, with the view spread out onto a flat surface [images 1.21 and 1.22]. Because you may turn this picture to any direction that pleases you, the depiction also raises questions from several directions:\r\n<ul>\r\n \t<li>What information do the <strong>Elements<\/strong> <strong>of<\/strong> <strong>Art<\/strong> (line, shape, space, texture, media, tools and color) suggest?<\/li>\r\n \t<li>The caves probably benefitted the people for about 5000 years, but people never lived in this cave. Why were these 600 paintings and over 1500 abstract designs created? For art? For religion? For theater? As a teaching tool, a library? An archive of their history?<\/li>\r\n \t<li>Numerically, the most frequently depicted animal was the horse; in lesser numbers there were bison, mammoth, wild goats, wild ox and deer. Lastly, deer! They depended on reindeer for food and materials and yet they are not presented here as the most important creature. What was that all about?<\/li>\r\n \t<li>Some walls were painted over and over again. Why?<\/li>\r\n \t<li>What was so important to these people that they went to such lengths to decorate the cave?<\/li>\r\n<\/ul>\r\nWe may consider the Cro-Magnon Homo Sapiens of Lascaux to be primal, but they were not primitive. Anatomically, Paleolithic people were like us with the same clever hands, the same binocular vision and the same integrating brain with powers of abstract thought. As tribal people they lived in small groups of 20-30 people. Men averaged 5\u2019 8\u201d in height. As hunter-gatherers their survival depended on the animals they could kill and the food they could gather.\r\n\r\nYes, the peoples of the Paleolithic period were remarkable, but the people who came after them, the people of the <strong>Neolithic <\/strong>age (starting c. 10,000 BCE), will introduce revolutionary ideas. The domestication of animals and the intentional cultivation of crops with increased tool usage will encourage a transition from food gathering to food producing. The resulting economic benefit will be food that can be shared with others. With the shift from rural\/pastoral life toward communal living in cities with an urban\/commercial focus the Tigris and Euphrates river valleys as well as the Nile river valley will flourish. In their desire to have some control over this world more energy will be devoted to warfare, religion and the construction of homes, food storage facilities and defensive walls. Both societies will attempt to manipulate nature with irrigation. In both areas, distinctive and differing occupations will evolve, class distinctions will become codified, palaces will be built and, with the advancement of abstract thought, writing will develop to keep track of the whole experience.\r\n<div class=\"textbox\">More complete definitions of these Elements of Art are on the Reference Document <em>Basic Elements of Art<\/em>.<\/div>\r\n<strong>References:<\/strong>\r\n\r\n<a href=\"#sdfootnote1anc\">1<\/a>. <a class=\"rId30\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/www.sciencephoto.com\/contributor\/pdx\/\">Christian Jegou Publiphoto Diffusion \/ Science Photo Library.<\/a><span style=\"text-align: initial; font-size: 1em;\"> Property release not required. Accessed from <\/span><a class=\"rId31\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/www.sciencephoto.com\/contributor\/pdx\/\">www.sciencephoto.com\/contributor\/pdx\/<\/a>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote2anc\">2<\/a>. Accessed from Minist\u00e8re de la Culture\/Centre National de la Pr\u00e9histoire\/Norbert Aujoulat at <\/span><a class=\"rId32\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/archeologie.culture.fr\/lascaux\/en\/mediatheque\/bison-0\">archeologie.culture.fr\/lascaux\/en\/mediatheque\/bison-0<\/a>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote3anc\">3<\/a>. Mary Beth Looney, \"Hall of Bulls, Lascaux,\" in <\/span><em style=\"text-align: initial; font-size: 1em;\">Smarthistory<\/em><span style=\"text-align: initial; font-size: 1em;\">, November 19, 2015, accessed August 16, 2019, <\/span><a class=\"rId33\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/smarthistory.org\/hall-of-bulls-lascaux\/\">smarthistory.org\/hall-of-<\/a> <a class=\"rId34\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/smarthistory.org\/hall-of-bulls-lascaux\/\">bulls-lascaux\/<\/a>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote4anc\">4<\/a>. Photo: Don Hitchcock, donsmaps.com<\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote5anc\">5<\/a>.Public Domain at commons.wikimedia.org\/wiki\/File:Swimming_stags.jpg<\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote6anc\">6<\/a>. Accessed from Artstor, library.artstor.org\/asset\/AWSS35953_35953_31673590 <\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote7anc\">7<\/a>. Public domain at <\/span><a class=\"rId35\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/www.freepik.com\/free-icon\/bull-face-frontal-outline_784099.htm\">www.freepik.com\/free-icon\/bull-face-frontal-outline_784099.htm<\/a>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote8anc\">8<\/a>. Accessed from Artstor, library-artstor-org.libdb.ppcc.edu\/asset\/ARTSTOR_103_41822000206142<\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote9anc\">9<\/a>. Public domain by the <\/span><a class=\"rId36\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/en.wikipedia.org\/wiki\/Minister_of_Culture_(France)\">French Ministry of Culture<\/a><span style=\"text-align: initial; font-size: 1em;\">, under the reference <\/span><a class=\"rId37\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/www.pop.culture.gouv.fr\/notice\/merimee\/PA00082696\">PA00082696<\/a>\r\n\r\n<span style=\"text-align: initial; text-indent: 0.05pt; font-size: 1em;\"><a href=\"#sdfootnote10anc\">10<\/a>. Accessed from Wikipedia Creative Commons license, photographer S\u00e9mhur, 25 September 2009. Source: Original on display at Le Mus\u00e9e National de Pr\u00e9histoire, Les Eyzies-de-Tayac. <\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote11anc\">11<\/a>. Photo by the author, Kathleen J. Hartman, 2010. CC BY-NC 4.0 License. <\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote12anc\">12<\/a>. Public domain by Don Hitchcock, donsmaps.com, 2008<\/span>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote13anc\">13<\/a>. Accessed at <\/span><a class=\"rId38\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/www.artstudio.org\/houston-museum-of-natural-science-more-than-grafitti\/\">www.artstudio.org\/houston-museum-of-natural-science-more-than-grafitti\/<\/a>\r\n\r\n<span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote14anc\">14<\/a>. Accessed from Artstor, library-artstor-org.libdb.ppcc.edu\/asset\/ARTSTOR_103_41822000086999<\/span>","rendered":"<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<figure style=\"width: 391px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image1-4.jpeg\" alt=\"A painting of people from the Neolithic age, painting animals on a cave wall.\" width=\"391\" height=\"323\" \/><figcaption class=\"wp-caption-text\"><strong>1.9<\/strong> Art of the Painting of the Lascaux Caves, France.<sup><a href=\"#sdfootnote1sym\">1<\/a><\/sup><\/figcaption><\/figure>\n<p class=\"import-BodyText\" style=\"margin-left: 27.95pt; margin-right: 319.9pt;\">Paintings are dumb. They don\u2019t say a word. Artists can communicate their beliefs and ideas only by means of carefully chosen basic elements. The relationships of these elements to one another and to the work of art as a whole determine the organization of that work. The Lascaux artists provide clear demonstrations of the formal elements of art, which include:<\/p>\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li style=\"list-style-type: none;\">\n<ul>\n<li>\n<p class=\"indent\">Line<\/p>\n<\/li>\n<li>\n<p class=\"indent\">Shape<\/p>\n<\/li>\n<li>\n<p class=\"indent\">Space, perspective and size<\/p>\n<\/li>\n<li>\n<p class=\"indent\">Texture<\/p>\n<\/li>\n<li>\n<p class=\"indent\">Media and tools<\/p>\n<\/li>\n<li>\n<p class=\"indent\">Color<\/p>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p><strong>LINES <\/strong>are made by the movement of an implement. They give direction and organize the space. There are five kinds of lines: vertical, horizontal, diagonal, curved or straight. Lines may vary in thickness, clarity, smoothness and direction.<\/p>\n<p>The straight, diagonal and downward slashes in image 1.10 leave no question about the movement of an implement. \u201cStroke, stroke, stroke.\u201d The <strong>rhythm<\/strong> of the lines is even and intentional. The fuzzy lines around the perimeter of the bison suggest texture. By way of contrast, the lines forming the legs and feet are curved, smooth and delicate.<\/p>\n<figure style=\"width: 620px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image2-2.jpeg\" alt=\"Painting of a bison striped by arrows from the Lascaux Caves in France.\" width=\"620\" height=\"465\" \/><figcaption class=\"wp-caption-text\"><strong>1.10<\/strong> Lascaux. Nave (left wall). Bison Striped by Arrows. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote2sym\">2<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<p>Lines may also be <strong>implied<\/strong>, encouraging the viewer to be a participant in the scene. In image 1.11, this author has added red lines to demonstrate the suggestion of forward, confrontational movement.<\/p>\n<\/div>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<figure id=\"attachment_1641\" aria-describedby=\"caption-attachment-1641\" style=\"width: 553px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1641\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls-.jpg\" alt=\"Cave painting of animals in a cave. Diagonal red lines are added to emphasize movement\" width=\"553\" height=\"378\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls-.jpg 2232w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--300x205.jpg 300w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--1024x700.jpg 1024w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--768x525.jpg 768w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--1536x1050.jpg 1536w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--2048x1400.jpg 2048w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--65x44.jpg 65w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--225x154.jpg 225w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/1.11-Left-wall-of-the-Hall-of-Bulls--350x239.jpg 350w\" sizes=\"auto, (max-width: 553px) 100vw, 553px\" \/><figcaption id=\"caption-attachment-1641\" class=\"wp-caption-text\"><strong>1.11<\/strong> Left wall of the Hall of Bulls, Lascaux II. Reproduction of Lascaux Cave, 16,000-14,000 BCE, Dordogne, France.<a href=\"#sdfootnote3sym\"><sup>3<\/sup><\/a><\/figcaption><\/figure>\n<\/div>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<p><strong>SHAPES<\/strong> are actual or implied &#8220;closed lines.&#8221; They must have length and width. Shapes may be regular or irregular, symmetrical or asymmetrical, organic or geometric. Shapes often create a feeling or an emotion.<\/p>\n<p><em>Are the sames of the heads in images 1.12 and 1.13 <strong>organic<\/strong> (national forms) or <strong>geometric<\/strong> (ideal, abstract forms)?<\/em> (Red lines have been added by this author.)<\/p>\n<figure id=\"attachment_301\" aria-describedby=\"caption-attachment-301\" style=\"width: 2300px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-301 size-full\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer.jpg\" alt=\"An abstracted drawing of a black stag, depicting the head and exaggerated antlers.Drawings on a cave wall of two deer heads with antlers. There is a red triangle indicating the shape of one of the heads.\" width=\"2300\" height=\"935\" data-wp-editing=\"1\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer.jpg 2300w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-300x122.jpg 300w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-1024x416.jpg 1024w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-768x312.jpg 768w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-1536x624.jpg 1536w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-2048x833.jpg 2048w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-65x26.jpg 65w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-225x91.jpg 225w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Black-Stag-and-Deer-350x142.jpg 350w\" sizes=\"auto, (max-width: 2300px) 100vw, 2300px\" \/><figcaption id=\"caption-attachment-301\" class=\"wp-caption-text\"><strong>1.12<\/strong> Lascaux. Megaloceros (The Black Stag) in the Axial Gallery. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote4sym\">4<\/a><\/sup> <strong>1.13<\/strong> Lascaux. Wall Painted Deer. 16,000-14,000 BCE. Dordogne, France.<sup><a href=\"#sdfootnote5sym\">5<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n<p>Geometric shapes are more popular than one might imagine. Artist Paul C\u00e9zanne stated: \u201cAll natural forms can be reduced to spheres, cones and cylinders. One must begin with these simple basic elements and then one will be able to make everything one wants.\u201d<\/p>\n<p><strong>SPACE<\/strong> suggests the relationships between shapes (or forms). Space is achieved through <strong>size<\/strong>, <strong>overlapping<\/strong>, <strong>shading <\/strong>and <strong>foreshortening <\/strong>of shapes. <strong>Perspective <\/strong>is the optical illusion of three-dimensional space on a two-dimensional surface. These techniques add <strong>realism <\/strong>to a creation, and may even \u201cfool the eye\u201d (<em>trompe-l\u2019oeil<\/em> ).<\/p>\n<p>In image 1.14, the bull is shown in <strong>profile<\/strong>, but his horns are shown <strong>frontally<\/strong>. For your comparison, the drawing [image 1.15] shows a frontal view. This twisted, combined frontal and profile perspective gives the bull more visual power and magical properties.<\/p>\n<p>Yes, <strong>SIZE <\/strong>is important in these paintings. The line from the head and rump to the tail of the horse is 11\u2019 6\u201d long!<\/p>\n<p>Imagine standing on the scaffolding and starting that long line. This artist had a complete vision of the animal. (Certainly the artist at Lascaux had a more steady hand than mine!)<\/p>\n<figure id=\"attachment_304\" aria-describedby=\"caption-attachment-304\" style=\"width: 433px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-304\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall.jpg\" alt=\"Cave painting of a herd of horses on the Lascaux Wall\" width=\"433\" height=\"297\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall.jpg 1604w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-300x206.jpg 300w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-1024x702.jpg 1024w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-768x527.jpg 768w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-1536x1053.jpg 1536w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-65x45.jpg 65w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-225x154.jpg 225w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Lascaux-Wall-350x240.jpg 350w\" sizes=\"auto, (max-width: 433px) 100vw, 433px\" \/><figcaption id=\"caption-attachment-304\" class=\"wp-caption-text\"><strong>1.14<\/strong> Lascaux Wall. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote6sym\">6<\/a><\/sup><\/figcaption><\/figure>\n<figure id=\"attachment_54\" aria-describedby=\"caption-attachment-54\" style=\"width: 203px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-54 size-full\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image10.png\" alt=\"A simplistic, frontal view of a bull.\" width=\"203\" height=\"225\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image10.png 203w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image10-65x72.png 65w\" sizes=\"auto, (max-width: 203px) 100vw, 203px\" \/><figcaption id=\"caption-attachment-54\" class=\"wp-caption-text\"><strong>1.15<\/strong> Frontal view of a bull.<sup><a href=\"#sdfootnote7sym\">7<\/a><\/sup><\/figcaption><\/figure>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<p><img decoding=\"async\" alt=\"\" src=\"src\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong style=\"text-align: initial; font-size: 1em;\">TEXTURE <\/strong><span style=\"text-align: initial; font-size: 1em;\">suggests the sensation of touch, such as rough, smooth, wet or even woolly. Without a doubt the texture of the \u201cLittle Horse\u201d [image 1.16] is fluffier than the so-called \u201cChinese Horse\u201d [image 1.17]. The natural <\/span><strong style=\"text-align: initial; font-size: 1em;\">relief <\/strong><span style=\"text-align: initial; font-size: 1em;\">of the walls may have suggested specific animals, to which the artist may have added <\/span><strong style=\"text-align: initial; font-size: 1em;\">actual <\/strong><span style=\"text-align: initial; font-size: 1em;\">or <\/span><strong style=\"text-align: initial; font-size: 1em;\">implied <\/strong><span style=\"text-align: initial; font-size: 1em;\">texture.<\/span><\/p>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<figure style=\"width: 283px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image11-1.jpeg\" alt=\"Lascaux cave painting of a small horse.\" width=\"283\" height=\"189\" \/><figcaption class=\"wp-caption-text\"><strong>1.16<\/strong> Lascaux. Axial Gallery, right wall, Little Horse. 16,000-14,000 BCE Dordogne, France.<sup><a href=\"#sdfootnote8sym\">8<\/a><\/sup><\/figcaption><\/figure>\n<figure id=\"attachment_56\" aria-describedby=\"caption-attachment-56\" style=\"width: 262px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-56\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1.jpeg\" alt=\"Lascaux cave painting of a Chinese horse.\" width=\"262\" height=\"197\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1.jpeg 598w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1-300x226.jpeg 300w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1-65x49.jpeg 65w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1-225x169.jpeg 225w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image12-1-350x263.jpeg 350w\" sizes=\"auto, (max-width: 262px) 100vw, 262px\" \/><figcaption id=\"caption-attachment-56\" class=\"wp-caption-text\"><strong>1.17<\/strong> Lascaux. Chinese Horse. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote9sym\">9<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>All objects have a physical texture. <em>What do you think is the story told by the differing textures of these horses?<\/em><\/p>\n<p>An artist must select the <strong>MEDIA<\/strong> and <strong>TOOLS<\/strong> he or she will use.<\/p>\n<ul>\n<li><em>What does the choice of media tell us about these people?<\/em><\/li>\n<li><em>What tools might they have used?\u00a0<\/em><\/li>\n<\/ul>\n<p>Tools including lamps, scaffolding and paint &#8220;brushes,&#8221; were our earliest technology. They were the initial act of extending our control over nature. The remains of oak wood used for scaffolding have been found at Lascaux.<\/p>\n<figure style=\"width: 532px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image13-1.jpeg\" alt=\"image\" width=\"532\" height=\"383\" \/><figcaption class=\"wp-caption-text\"><strong>1.18<\/strong> Lascaux: an oil lamp (a deer fat lamp) found in the sediments in the floor of the shaft. Magdalenian culture, 17,000 BCE. Shaped like a large spoon made of red sandstone, it is 8 \u00be inches long by 4 3\/16 inches wide and 1 \u00bc inches thick. The lamp is finely polished and symmetrical. Its shallow oval cup serves as a receptacle for fuel. The upper surface of the handle is decorated with two abstract signs of chevrons fitted into each other, such as are found painted or engraved in various parts of the cave. When the lamp was discovered, it still contained sooty substances grouped in a circle at the bottom of the cup. These particles were tested and determined to be the remains of a juniper wick used for ignition. Dordogne. France.<sup><a href=\"#sdfootnote10sym\">10<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<div>\n<p>&nbsp;<\/p>\n<p>For these paintings, earth pigments were mixed with animal fat. Red came from hematite (iron oxide or red ocher). Black was made from manganese dioxide or charcoal. The white is kaolin or chalk. Minerals were heated to produce yellow, brown, and violet. No green or blue was used in these paintings.<\/p>\n<p><strong style=\"text-align: initial; font-size: 1em;\">COLOR <\/strong><span style=\"text-align: initial; font-size: 1em;\">conveys information and emotion. Color may have a sacred or symbolic function.<\/span><\/p>\n<\/div>\n<p>(The Yellowstone Bull stepped out in front of my car and declared, \u201cI won\u2019t move until you take my picture!\u201d [image 1.19] Oh! I get the message. It\u2019s spring!! Thanks.)<\/p>\n<p><em>What<\/em> <em>are<\/em> <em>the<\/em> <em>white<\/em> <em>spaces<\/em> <em>at<\/em> <em>the<\/em> <em>top<\/em> <em>on<\/em> <em>the<\/em> <em>bulls\u2019<\/em> <em>legs<\/em> <em>in<\/em> <em>image<\/em> <em>1.20<\/em> <em>all<\/em> <em>about?<\/em> (The red circles were added by this author.)<\/p>\n<figure style=\"width: 301px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image14-1.jpeg\" alt=\"image\" width=\"301\" height=\"226\" \/><figcaption class=\"wp-caption-text\"><strong>1.19<\/strong> Yellowstone Bull.<sup><a href=\"#sdfootnote11sym\">11<\/a><\/sup><\/figcaption><\/figure>\n<figure id=\"attachment_305\" aria-describedby=\"caption-attachment-305\" style=\"width: 302px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-305\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison.jpg\" alt=\"\" width=\"302\" height=\"227\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison.jpg 980w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison-300x226.jpg 300w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison-768x578.jpg 768w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison-65x49.jpg 65w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison-225x169.jpg 225w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/Two-Bison-350x263.jpg 350w\" sizes=\"auto, (max-width: 302px) 100vw, 302px\" \/><figcaption id=\"caption-attachment-305\" class=\"wp-caption-text\"><strong>1.20<\/strong> Two Bison (aka Crossed Bison) in the nave. 16,000- 14,000 BCE Lascaux Cave, Dordogne, France. Combined length 8 feet. The artists used the concavity of the wall to create the illusion of the two bison galloping at full speed toward the viewer.<sup><a href=\"#sdfootnote12sym\">12<\/a><\/sup><\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<div class=\"textbox\" style=\"text-align: center;\"><em>Are<\/em> <em>the<\/em> <em>colors<\/em> <em>used<\/em> <em>at<\/em> <em>Lascaux<\/em> <strong><em>monochromatic<\/em><\/strong> <em>or<\/em> <strong><em>polychromatic<\/em><\/strong><em>?<\/em> <em>What<\/em> <em>do<\/em> <em>we<\/em> <em>learn<\/em> <em>from<\/em> <em>the<\/em> <em>colors?<\/em><\/div>\n<\/div>\n<figure id=\"attachment_60\" aria-describedby=\"caption-attachment-60\" style=\"width: 283px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-60\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17.jpeg\" alt=\"\" width=\"283\" height=\"366\" srcset=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17.jpeg 480w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17-232x300.jpeg 232w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17-65x84.jpeg 65w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17-225x291.jpeg 225w, https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image17-350x452.jpeg 350w\" sizes=\"auto, (max-width: 283px) 100vw, 283px\" \/><figcaption id=\"caption-attachment-60\" class=\"wp-caption-text\"><strong>1.21<\/strong> Axial Gallery overview of the Animals on the Ceiling. Lascaux (Dordogne) France (16,000-14,000 BCE).<sup><a href=\"#sdfootnote13sym\">13<\/a><\/sup><\/figcaption><\/figure>\n<p>Time-Life photographer Ralph Morse had the unique opportunity to visit the caves shortly after they were opened in 1947. His statement expresses the \u201cWOW\u201d that we feel when we encounter Paleolithic art: \u201cThe first sight of those paintings was simply unbelievable. I was amazed at how the colors held up after thousands of years\u2014like they were painted the day before. Most people don\u2019t realize how huge some of the paintings are.\u201d<\/p>\n<div class=\"elements-of-art-as-demonstrated-at-the-lascaux-cave\">\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<figure style=\"width: 507px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"\" src=\"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-content\/uploads\/sites\/194\/2024\/07\/image19.jpeg\" alt=\"image\" width=\"507\" height=\"693\" \/><figcaption class=\"wp-caption-text\"><strong>1.22<\/strong> Lascaux: Animals on the Ceiling. 16,000-14,000 BCE, Dordogne, France.<sup><a href=\"#sdfootnote14sym\">14<\/a><\/sup><\/figcaption><\/figure>\n<\/div>\n<p>The last images we will consider are views of the ceiling, first, as it may be seen from inside the cave and secondly, with the view spread out onto a flat surface [images 1.21 and 1.22]. Because you may turn this picture to any direction that pleases you, the depiction also raises questions from several directions:<\/p>\n<ul>\n<li>What information do the <strong>Elements<\/strong> <strong>of<\/strong> <strong>Art<\/strong> (line, shape, space, texture, media, tools and color) suggest?<\/li>\n<li>The caves probably benefitted the people for about 5000 years, but people never lived in this cave. Why were these 600 paintings and over 1500 abstract designs created? For art? For religion? For theater? As a teaching tool, a library? An archive of their history?<\/li>\n<li>Numerically, the most frequently depicted animal was the horse; in lesser numbers there were bison, mammoth, wild goats, wild ox and deer. Lastly, deer! They depended on reindeer for food and materials and yet they are not presented here as the most important creature. What was that all about?<\/li>\n<li>Some walls were painted over and over again. Why?<\/li>\n<li>What was so important to these people that they went to such lengths to decorate the cave?<\/li>\n<\/ul>\n<p>We may consider the Cro-Magnon Homo Sapiens of Lascaux to be primal, but they were not primitive. Anatomically, Paleolithic people were like us with the same clever hands, the same binocular vision and the same integrating brain with powers of abstract thought. As tribal people they lived in small groups of 20-30 people. Men averaged 5\u2019 8\u201d in height. As hunter-gatherers their survival depended on the animals they could kill and the food they could gather.<\/p>\n<p>Yes, the peoples of the Paleolithic period were remarkable, but the people who came after them, the people of the <strong>Neolithic <\/strong>age (starting c. 10,000 BCE), will introduce revolutionary ideas. The domestication of animals and the intentional cultivation of crops with increased tool usage will encourage a transition from food gathering to food producing. The resulting economic benefit will be food that can be shared with others. With the shift from rural\/pastoral life toward communal living in cities with an urban\/commercial focus the Tigris and Euphrates river valleys as well as the Nile river valley will flourish. In their desire to have some control over this world more energy will be devoted to warfare, religion and the construction of homes, food storage facilities and defensive walls. Both societies will attempt to manipulate nature with irrigation. In both areas, distinctive and differing occupations will evolve, class distinctions will become codified, palaces will be built and, with the advancement of abstract thought, writing will develop to keep track of the whole experience.<\/p>\n<div class=\"textbox\">More complete definitions of these Elements of Art are on the Reference Document <em>Basic Elements of Art<\/em>.<\/div>\n<p><strong>References:<\/strong><\/p>\n<p><a href=\"#sdfootnote1anc\">1<\/a>. <a class=\"rId30\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/www.sciencephoto.com\/contributor\/pdx\/\">Christian Jegou Publiphoto Diffusion \/ Science Photo Library.<\/a><span style=\"text-align: initial; font-size: 1em;\"> Property release not required. Accessed from <\/span><a class=\"rId31\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/www.sciencephoto.com\/contributor\/pdx\/\">www.sciencephoto.com\/contributor\/pdx\/<\/a><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote2anc\">2<\/a>. Accessed from Minist\u00e8re de la Culture\/Centre National de la Pr\u00e9histoire\/Norbert Aujoulat at <\/span><a class=\"rId32\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/archeologie.culture.fr\/lascaux\/en\/mediatheque\/bison-0\">archeologie.culture.fr\/lascaux\/en\/mediatheque\/bison-0<\/a><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote3anc\">3<\/a>. Mary Beth Looney, &#8220;Hall of Bulls, Lascaux,&#8221; in <\/span><em style=\"text-align: initial; font-size: 1em;\">Smarthistory<\/em><span style=\"text-align: initial; font-size: 1em;\">, November 19, 2015, accessed August 16, 2019, <\/span><a class=\"rId33\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/smarthistory.org\/hall-of-bulls-lascaux\/\">smarthistory.org\/hall-of-<\/a> <a class=\"rId34\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/smarthistory.org\/hall-of-bulls-lascaux\/\">bulls-lascaux\/<\/a><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote4anc\">4<\/a>. Photo: Don Hitchcock, donsmaps.com<\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote5anc\">5<\/a>.Public Domain at commons.wikimedia.org\/wiki\/File:Swimming_stags.jpg<\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote6anc\">6<\/a>. Accessed from Artstor, library.artstor.org\/asset\/AWSS35953_35953_31673590 <\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote7anc\">7<\/a>. Public domain at <\/span><a class=\"rId35\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/www.freepik.com\/free-icon\/bull-face-frontal-outline_784099.htm\">www.freepik.com\/free-icon\/bull-face-frontal-outline_784099.htm<\/a><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote8anc\">8<\/a>. Accessed from Artstor, library-artstor-org.libdb.ppcc.edu\/asset\/ARTSTOR_103_41822000206142<\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote9anc\">9<\/a>. Public domain by the <\/span><a class=\"rId36\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/en.wikipedia.org\/wiki\/Minister_of_Culture_(France)\">French Ministry of Culture<\/a><span style=\"text-align: initial; font-size: 1em;\">, under the reference <\/span><a class=\"rId37\" style=\"text-align: initial; font-size: 1em;\" href=\"https:\/\/www.pop.culture.gouv.fr\/notice\/merimee\/PA00082696\">PA00082696<\/a><\/p>\n<p><span style=\"text-align: initial; text-indent: 0.05pt; font-size: 1em;\"><a href=\"#sdfootnote10anc\">10<\/a>. Accessed from Wikipedia Creative Commons license, photographer S\u00e9mhur, 25 September 2009. Source: Original on display at Le Mus\u00e9e National de Pr\u00e9histoire, Les Eyzies-de-Tayac. <\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote11anc\">11<\/a>. Photo by the author, Kathleen J. Hartman, 2010. CC BY-NC 4.0 License. <\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote12anc\">12<\/a>. Public domain by Don Hitchcock, donsmaps.com, 2008<\/span><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote13anc\">13<\/a>. Accessed at <\/span><a class=\"rId38\" style=\"text-align: initial; font-size: 1em;\" href=\"http:\/\/www.artstudio.org\/houston-museum-of-natural-science-more-than-grafitti\/\">www.artstudio.org\/houston-museum-of-natural-science-more-than-grafitti\/<\/a><\/p>\n<p><span style=\"text-align: initial; font-size: 1em;\"><a href=\"#sdfootnote14anc\">14<\/a>. Accessed from Artstor, library-artstor-org.libdb.ppcc.edu\/asset\/ARTSTOR_103_41822000086999<\/span><\/p>\n","protected":false},"author":101,"menu_order":3,"template":"","meta":{"pb_show_title":"on","pb_short_title":"","pb_subtitle":"","pb_authors":[],"pb_section_license":""},"chapter-type":[],"contributor":[],"license":[],"class_list":["post-62","chapter","type-chapter","status-publish","hentry"],"part":254,"_links":{"self":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/62","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters"}],"about":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/types\/chapter"}],"author":[{"embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/users\/101"}],"version-history":[{"count":10,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/62\/revisions"}],"predecessor-version":[{"id":1642,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/62\/revisions\/1642"}],"part":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/parts\/254"}],"metadata":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapters\/62\/metadata\/"}],"wp:attachment":[{"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/media?parent=62"}],"wp:term":[{"taxonomy":"chapter-type","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/pressbooks\/v2\/chapter-type?post=62"},{"taxonomy":"contributor","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/contributor?post=62"},{"taxonomy":"license","embeddable":true,"href":"https:\/\/pressbooks.ccconline.org\/ppschum1021earlycivilizations\/wp-json\/wp\/v2\/license?post=62"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}