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The Cave Painters is a vivid introduction to the spectacular cave paintings of France and Spain—the individuals who rediscovered them, theories about their origins, their splendor and mystery.
Gregory Curtis makes us see the astonishing sophistication and power of the paintings and tells us what is known about their creators, the Cro-Magnon people of some 40,000 years ago. He takes us through various theories—that the art was part of fertility or hunting rituals, or used for religious purposes, or was clan mythology—examining the ways interpretations have changed over time. Rich in detail, personalities, and history, The Cave Painters is above all permeated with awe for those distant humans who developed—perhaps for the first time—both the ability for abstract thought and a profound and beautiful way to express it.
From the Trade Paperback edition.
- Sales Rank: #679317 in eBooks
- Published on: 2008-12-10
- Released on: 2008-12-10
- Format: Kindle eBook
From Publishers Weekly
For centuries, people have been going into caves in France and Spain, looking at the 30,000-year-old pictures painted there and asking, "What can they be?" In this lively survey, Curtis, former Texas Monthly editor, makes it clear that while we'll never have a definitive answer, the quest will always be fascinating. He begins by laying out who the painters probably were and what their world was like during the waning days of Neanderthals. Then he dives into the caves and the bitter controversies on the art within, from the war of ideas between Marcelo Sautuola and Emile Cartailhac in the late 19th century to Jean Clottes's and David Lewis-Williams's current, strongly disputed theory that the paintings are related to shamanic quests. Curtis's own speculation is sometimes more arguable than believable, but usually intriguing. He bolsters a slim number of illustrations with concise descriptions that convey his own delight, befuddlement, frustration and awe. At the cave Les Tres-Frères, he is overwhelmed by the images and by being "as close as I would ever be—physically close—to The Truth." For readers who may never visit the caves, Curtis's sensitive narration gives a chance to share that encounter with mystery. 20 b&w illus. and 8-page color insert. (Oct. 13)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
"Fascinating. . . . We will be arguing about these glorious creations for many years to come." —The Washington Post Book World"The beauty of the cave art moves Curtis deeply, and his writing preserves that passionate response." —Seattle Times“Curtis is a good storyteller, and he has good stories to tell about eccentrics of all sorts.” —The Christian Science Monitor“A fascinating survey of the rival theories. . . . [Readers will be] swept up in the beauty of the cave paintings and the persuasive pull of his prose.” —Richmond Times-Dispatch
From the Trade Paperback edition.
About the Author
Gregory Curtis is the author of Disarmed: The Story of the Venus de Milo. He was the editor of Texas Monthly from 1981 until 2000. His writing has appeared in The New York Times, The New York Times Magazine, Fortune, Time, and RollingStone, among other publications. A graduate of Rice University and San Francisco State College, he lives with his wife in Austin, Texas.
Most helpful customer reviews
5 of 6 people found the following review helpful.
The best introduction to Palelithic cave art
By G. Askew
Having been familiar with the briefest of facts regarding the cave art in France, I was not sure what to expect when I read this book. Let's face it - this is not a frequent part of conversation today.
But what a wonderful book this is. There have been many discoveries now, and the time is right for a well-informed introduction to this subject. Sometimes the questions that are provoked by observation of the art and history is just as rich and revealing as the discoveries themselves.
Were these people of 30,000 years ago merely scribbling on the wall, or are there indications of a higher purpose and underlying structure? The answer is subjective, but the well-written narratives of Mr. Curtis allow your mind to consider questions such as who were these people? Did they dream, have friendships, travel beyond their usual territory? Why did they draw some of the things the way they did? What happened in the huge gaps of time when no-one visited the caves?
If a person 32,000 years ago created art in Chauvet, when another person came along 10,000 years later, were they shocked? Did they suspect intruders, or did they eventually realize that the art before them may be from their ancestors? There weren't that many other people around, so that conclusion is possible. Art was rarely defaced or overlapped. And how did these sites survive, in some cases, tens of thousands of years without being destroyed by later people or the elements?
The writing style of this book is easy to follow, and very well done. It is at the same time well-grounded in the facts and personalities of the subject, while frequently asking the right questions and not afraid to journey into unexplored territory.
Enjoy!
4 of 5 people found the following review helpful.
ART IN THE DARK
By Joseph R. Calamia
"The Cave Painters" by Gregory Curtis is no ordinary book on the great cave paintings of Southern France and Spain. This book takes the reader into not just the dark recesses of the cave, but perhaps the dark recesses of a 40,000 year old mind set.
The author also narrates the findings of these caves by early spelunkers in a style comparable to some of the best novels I have read. Mr. Curtis merges hard core fact, scientific findings, and human drama that would make any writer or investigative journalist envious.
These magnificent paintings of which Curtis writes, were evidently not something haphazardly etched upon a limestone cave wall, but "more likely than not", specialized compositions of artistic arrangements for...very specific reasons.
This cave art exudes learned and specialized artistic style. This style is not a one time epiphany from a specific Paleolithic artist but... a "virtual school" developed in time. It also appears that there were numerous artists working under the tutelage of a master artist at any given time, much like Michael Angelo thousands of years later!
Were these pictures simply a tribute to the animals themselves, or did they symbolically represent something more than ...just the animal? Was their size in comparison with each other symbolic as well? The author's extensive research and introduction of such astute individuals as Max Raphael (Chapter 5) slowly began to lead the reader into new realms and possibilities that help to illuminate the pitch darkness of prior archaeological theories, and assumed "troglodyte-mentality."
The book examines all aspects and additional theories for these cave paintings, especially in some of the deeper rooms wherein bear skulls were found positioned in an apparent altar. This find of obvious religious significance quickly lead one specialist, Jean Clottes to surmise that at least, some of the paintings were done to reproduce the images and their symbolic meaning from hallucinogenic trances as interpreted by the Paleolithic Shaman. His premise (while not very popular), may have some merit, but like most theories, it is only speculation and, as the book points out, Mr. Clottes has always been heavily influenced by the subject of Shamanism anyway.
This is a valuable book for the artist, the art-historian, the archaeologist, the historian, the symbolist, the psychologist, the parapsychologist, and... for anyone who enjoys reading.
3 of 4 people found the following review helpful.
A fresh view of some astounding art
By Theodore A. Rushton
This is much more than a simple account of some cave paintings from as long as 32,000 years ago; it is also a story of how they were discovered, the nature and condition of the caves and some speculation on "Why?" they were done.
Modern paintings challenge the tenets of society; cave paintings reflect a society that lasted 20,000 years without significant change. To add to the mystery, the paintings were finished and left without further viewing. Only in modern times did they become galleries, in ancient times people did not ritually gather and see this artwork to restore their faith in their society.
"Either way, a prehistoric symbol or figure can mean anything one wants it to mean," Curtis writes. It's not a book for the fantastists or romantics; stick with 'Clan of the Cave Bear' by Jean Auel for fiction set in prehistoric times. Instead, it's a careful readable account of current knowledge about cave art most know from the examples of Altamira and Lascaux; it provides a good general foundation for new information constantly coming to light.
Cave art is magnificent; the great difficulty is understanding it began 30,000 years ago in a small region on the border between France and Spain, and was done when the population of all France was about 5,000 people. Yet, it manages to fit and astound our modern world.
Chaucer, from 800 years ago, needs a translator; Shakespeare from 500 years ago is difficult and needs explanation. Cave art combines abstract, impressionist and pictorial elements; even after 30,000 years the images are outstanding, although the social meaning may be forever lost.
Curtis begins with the entry of modern humans into Europe about 40,000 years ago, to provide a setting to underrstand the people and their surroundings. Climate change? For one thing, the Mediterranean was then about 300 feet lower than today. Cave artists painted before the last great era of climate change, before the mammoths and cave lions vanished.
His one speculation is these paintings may be "shamanistic" in meaning; shamans typically deal with three levels of the world, the heavens, everyday life, and the depths of the underworld. It's an idea that has been roundly and soundly ridiculed; but then, so was the idea of 30,000-year-old paintings when they were first discovered.
One constant element is the Mediterranean theme of bulls; Curtis writes gingerly when discussing such speculation, and he leaves it to readers to judge. The legend of the Minotaur: Is this its origins? Newgrange and related structures may also be elaborate portrayals of the underworld; even the Pharaohs wanted to be entombed under man-made "mountains."
In short, it's a fascinating book about some known unknowns.
.
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