The Chauvet: The Lascaux Cave

Lascaux Caves contains many images depicting animals, religion and art. The paintings date back to around 15,000 BC and are categorised into paintings of animals, human figures and abstract signs or writing. In total Lascaux’s passageways extend to 240m and contain around 2,000 paintings 900 of which are mostly extinct animals depicting both feared predators and animals they hunted for food.

Lascaux Cave and Stonehenge are both prehistoric pieces of artwork that reflect the values and beliefs of their respective time periods. They both have ties to astronomy, with the former depicting constellations in the form of animals and the latter being aligned to the Sun’s solstitial axis. But the main similarity between the two is the fact that they served a higher purpose than simply being art. They both had a function and meant something to the cultures that built them. They are both highly influential pieces of art that inspired many generations of people.

This study is focus on the 11th Unnamed Cave in Tennessee. This cave was the first of its kind because this cave is the only one that was found to contain pictograph, petroglyph, and mud glyph all in one site. The article explain that the site is significant because there are evidence to showed that the site underwent a series of diverse but interrelated uses. The first out of all the cave sites to contain all three different form of rock art. Also, because the site was found in the eighteenth century which had some form of documentations on the uses of the cave. The authors believes that since the cave showed many different kind of activities, it is possible that the activities reflect a complex behaviors more elaborated and sacred than

Choose a work of art from the reading in Chapter 1. Discuss how the work is a reflection of the ancient culture that created it. Also, did anything particularly surprise or impress

The Chauvet Cave, which is located in the southern part of modern day France, is full of Palaeolithic (Paleolithic) paintings created about thirty to thirty-three thousand years ago. The last Ice Age period was estimated to be around one-hundred-and-ten to twelve-thousand years ago, and places this within it. However, it was only discovered about twenty-two years ago in 1994 by a group of “cavers” led by the man himself, Jean-Marie Chauvet. Today, the cave is compelling to many observers as it is described to be loaded with “skillfully executed” charcoal and carved creations including animals such as horses/stallions, deer-like figures, lions, hyenas, owls, panthers, and rhinos.

Do you know anything about cave paintings? Well I am here to inform you about them. For example, the majestic paintings of bison in Cosquer Cave. In Altamira more beautiful animals of the Ice Age. In Lascaux too were majestic animals like horse, deer, bison, etc. These facts are truly amazing. These caves are jewels of mother nature. Also, about Carbon 14 Dating and how it works with its formulas.

Criticizing a painting has a process that contains only four steps to it. Describe, analyze, interpret, and judge are the four steps to evaluating any work of art. The painting that we will use this process on is called “The Ambassadors” by Hans Holbein II in the year 1533 which is an oil painting on a panel. We will apply this process to determine if his work of art is a success or a failure.

This cave had drawings of miraculous things that no one had ever seen before. The

The oil on canvas landscape painting does not reveal the name of the painter, but instead it leaves the observer with several explicit and implicit clues which may lead the viewer a step closer to its creator and its reason for existing. Additionally knowing that the painting was created in France sometime around the mid 17th century narrows it down to a few possible influencing eras. Moreover, having the freedom as a spectator to make assumptions based on legitimate evidence lead me to think critically and got me to figure out the painter’s background information, intended audience, intentions, and etc.

The landscape and gestures are symmetrical and balanced such as their feet, hands, and facial expressions are all equally proportioned. Throughout this composition there are geometrical shapes which are recognizable such as circles, ovals, and rectangles which are all natural forms. The utilities used to create this work of art have more benefits than drawbacks. Canvases and oil paints are easier to depict mythical and heroic figures effectively because the paint can be applied thick which makes blending of colours easier to achieve. The linseed or walnut oil dries very slowly thus making it simple to revise the image. In addition, canvases are light and retain a glossy surface. The only challenge is to keep the brush strokes to a minimum, but the trace of an artist’s brush stroke like the one in this painting accentuated movement and naturalism.

While observing this painting, I saw many attributes throughout the work that all contributed to the content. First,

When having to choose two works of art to compare and analyze, it had occurred to me that one of my all time favorite artist has always been Vincent Van Gogh. After searching through countless of Van Gogh’s magnificent works of art, I knew I wanted to analyze ‘Houses in Auvers’. Once I chose my first painting, the second piece fell right into place. Since Van Gogh was a painter in the post impressionist movement, deciding to choose another painter from that movement worked out well. I chose, ‘Auvers, Panoramic View’, painted by Paul Cezanne. A majority of people admiring these paintings would realize at least two elements: houses, and the beauty. Although, looking beyond the beauty of the town, there are many more comparisons.

Claude Monet, An Analysis on Art Specific Purpose: To inform the audience on the significance and formation of Claude Monet’s work. Thesis: Claude Monet’s work did not just become popular because of his unique use of color; but also because of his use of subject matter.

Like the artist-oriented approach of art history, we deciphered the artist’s intent with the medium and took careful consideration of their thoughts during the creative process. Similarly, we could see an object-oriented approach in the way we used visually apparent cues to determine intent and meaning in the work. Unlike both of these, however, we also took into account the historic use of the medium and the way the medium itself had been shaped by the progression of art history. For example, in the study of medium in the works of Peter Voulkos, as discussed in both “Twentieth Century Ceramics” by Edmund de Waal and Stuart Asprey’s lecture “Working with Clay”, all of these approaches and facets can be seen. De Waal spends time interpreting Voulkos’s studio background and the progression of his works over his life, but also speaks of the development of ceramics and how that affected the meaning of his works. On the other hand, Asprey took the other approach when he talked about the structure and obvious visual clues in Voulkos’s works. Medium played a major role in both of these analyses of Voulkos and his works. We learned that the approach of medium uses both visual clues and background information in the process of studying art

Prehistoric • Paintings in caves at Lascaux and Peche Merle, France • Venus of Willendorf • dwellings at Catal Huyuk • Stonehenge • Ancient Near Eastern Sumerian: • Ziggurat at Ur • Votive statuettes from Tell Asmar