The technology of the earliest European cave paintings: El Castillo Cave, Spain

No abstract is available for this paper.

• Publication year

  2016

• Venue

  Journal of Archaeological Science

• Publication date

  2016-06-01

• Fields of study

  Art, Materials Science, History

• Identifiers
  DOI 10.1016/J.JAS.2016.03.007
• External record

  Open on Semantic Scholar

• Source metadata

  Semantic Scholar

• No claims are published for this paper.

• No concepts are published for this paper.

• The chronology of hand stencils in European Palaeolithic rock art: implications of new U-series results from El Castillo Cave (Cantabria, Spain).

  2015cited by this paper
• Fire in the Plio-Pleistocene: the functions of hominin fire use, and the mechanistic, developmental and evolutionary consequences.

  2015cited by this paper
• Widespread infection with hemotropic mycoplasmas in bats in Spain, including a hemoplasma closely related to "Candidatus Mycoplasma hemohominis".

  2015cited by this paper
• Présences humaines dans la grotte ornée d’El Castillo (Cantabrie, Espagne) : dépôts, prélèvements et traces de passage.

  2014cited by this paper
• Pleistocene cave art from Sulawesi, Indonesia

  2014cited by this paper
• Homo erectus at Trinil on Java used shells for tool production and engraving

  2014cited by this paper
• Chauvet, chronologie et archéologie

  2014cited by this paper
• The Regourdou 1 Neandertal body size

  2014cited by this paper
• A rock engraving made by Neanderthals in Gibraltar

  2014cited by this paper
• Evidence supporting an intentional Neandertal burial at La Chapelle-aux-Saints

  2013cited by this paper
• Head Circumference in Canadian Male Adults: Development of a Normalized Chart

  2012cited by this paper
• U-Series Dating of Paleolithic Art in 11 Caves in Spain

  2012cited by this paper
• A multi-technique characterization and provenance study of the pigments used in San rock art, South Africa

  2012cited by this paper
• Technological, elemental and colorimetric analysis of an engraved ochre fragment from the Middle Stone Age levels of Klasies River Cave 1, South Africa

  2012cited by this paper
• Further constraints on the Chauvet cave artwork elaboration

  2012cited by this paper
• Τesting models for the beginnings of the Aurignacian and the advent of figurative art and music: the radiocarbon chronology of Geißenklösterle.

  2012cited by this paper
• Paul Pettitt: The Palaeolithic Origins of Human Burial. Routledge, Londres/Nueva York, 2011.

  2011cited by this paper
• Portable XRF of Archaeological Artifacts: Current Research, Potentials and Limitations

  2011cited by this paper
• The Reality of Neandertal Symbolic Behavior at the Grotte du Renne, Arcy-sur-Cure, France

  2011cited by this paper
• Symbolic use of marine shells and mineral pigments by Iberian Neandertals

  2010cited by this paper
• From the Cover: A Howiesons Poort tradition of engraving ostrich eggshell containers dated to 60,000 years ago at Diepkloof Rock Shelter, South Africa.

  2010cited by this paper
• The Palaeolithic Origins of Human Burial

  2010cited by this paper
• Out of Africa: modern human origins special feature: additional evidence on the use of personal ornaments in the Middle Paleolithic of North Africa.

  2009cited by this paper
• Engraved ochres from the Middle Stone Age levels at Blombos Cave, South Africa.

  2009cited by this paper
• THE ORIGIN AND GEOCHEMICAL CHARACTERIZATION OF RED OCHRES FROM THE TITO BUSTILLO AND MONTE CASTILLO CAVES (NORTHERN SPAIN)

  2009cited by this paper
• Les Matières colorantes au début du Paléolithique supérieur : Caractérisation, état de transformation et valeur symbolique. Rapport intermédiaire à un an du Programme National de Recherche du la connaissance et la conservation des matériaux du Patrimoine Culturel.

  2009cited by this paper
• A female figurine from the basal Aurignacian of Hohle Fels Cave in southwestern Germany

  2009cited by this paper
• MULTIANALYTICAL STUDY OF PALAEOLITHIC REINDEER ANTLER. DISCOVERY OF ANTLER TRACES IN LASCAUX PIGMENTS BY TEM

  2008cited by this paper
• Les cavernes de la Région Cantabrique

  2008cited by this paper
• The Archaeological Framework of the Upper Paleolithic Revolution

  2007cited by this paper
• Middle Paleolithic Shell Beads in Israel and Algeria

  2006cited by this paper
• Recapitulaciones y conclusiones: El yacimiento de la cueva de "El castillo (Puente Viesgo, Santander)". Consejo Superior de Investigaciones Científicas (Madrid, 1984)

  2006cited by this paper
• Le groupe des « bisons adossés » de Lascaux. Étude de la technique de l'artiste par analyse des pigments

  2006cited by this paper
• Bilan des datations carbone 14 effectuées sur des charbons de bois de la grotte Chauvet

  2005cited by this paper
• Nassarius kraussianus shell beads from Blombos Cave: evidence for symbolic behaviour in the Middle Stone Age.

  2005cited by this paper
• U-series and ESR analyses of bones and teeth relating to the human burials from Skhul.

  2005cited by this paper
• Étude de la matière colorante de la grotte d'Arenaza (Galdames, Pays Basque, Espagne)

  2004cited by this paper
• Los "aerógrafos" de la Cueva de Altamira

  2004cited by this paper
• Les blasons de Lascaux

  2004cited by this paper
• An Early Case of Color Symbolism

  2003cited by this paper
• Palaeolithic ivory sculptures from southwestern Germany and the origins of figurative art

  2003cited by this paper
• Body size and postcranial robusticity of European Upper Paleolithic hominins.

  2002cited by this paper
• Les matières picturales de la grotte d'Ekain (Pays Basque)

  2002cited by this paper
• PAST: PALEONTOLOGICAL STATISTICAL SOFTWARE PACKAGE FOR EDUCATION AND DATA ANALYSIS

  2001cited by this paper
• La transition vers le Paléolithique supérieur dans la grotte du Castillo (Cantabrie, Espagne) : la couche 18

  2001cited by this paper
• Analyse de la peinture de quelques sites postglaciaires du Sud-Est de la France☆

  2001cited by this paper
• Body size, body shape, and long bone strength in modern humans.

  2000cited by this paper
• La couleur à la Grande Grotte d'Arcy-sur-Cure (Yonne)

  1999cited by this paper
• The Chronology and Taphonomy of the Earliest Aurignacian and Its Implications for the Understanding of Neandertal Extinction

  1999cited by this paper
• The colloidal and rheological properties of bentonite suspensions

  1999cited by this paper
• Manières de peindre des mains à Gargas et Tibiran (Hautes-Pyrénées)

  1995cited by this paper
• Façons de peindre au Magdalénien

  1993cited by this paper
• Spitting images: replicating the Spotted Horse of Pech Merle

  1991cited by this paper
• La préparation des peintures magdaléniennes des cavernes ariégeoises in Spécial Préhistoire : 50e anniversaire de la découverte de Lascaux.

  1990cited by this paper
• Etude des pigments de grottes ornées paléolithiques du Quercy

  1990cited by this paper
• The human career

  1989cited by this paper
• Les représentations de mains négatives dans les grottes de Gargas et de Tibiran (Hautes-Pyrénées). Approche méthodologique

  1988cited by this paper
• El yacimiento de la cueva de "El Castillo" (Puente Viesgo, Santander)

  1984cited by this paper
• B6 – SCANNING ELECTRON MICROSCOPY OF MYCOPLASMAS

  1983cited by this paper
• Point and Line to Plane

  1979cited by this paper
• A titanium-rich soil clay

  1976cited by this paper
• Los omoplatos decorados de la cueva de 'El Castillo, ' Puente Viesgo (Santander)

  1976cited by this paper
• Quatre cents siècles d'art pariétal : les cavernes ornées de l'age du renne

  1974cited by this paper
• Interaction of mycoplasmas with cell cultures, as visualized by electron microscopy.

  1974cited by this paper
• Pinturas y grabados de la Cueva de las Chimeneas: (Puente Viesgo, Santander)

  1974cited by this paper
• Les mains de Gargas. Essai pour une étude d'ensemble

  1967cited by this paper
• La Pasiega a puente-viesgo (Santander) (Espagne)

  year unknowncited by this paper

• A new methodology for incorporating weathering products into analyses of prehistoric pictorial matter: A case study at the Rocher Du Château schematic rock art site

  2025cites this paper
• Susceptibility of different pigments to irradiation by two lasers with different pulse duration and wavelength

  2025cites this paper
• Neanderthal cave art? A proposal from cognitive archaeology

  2025cites this paper
• Revisiting palaeolithic rock art. Reading the graphic overlapping in terms of reuse behaviours in the Frieze of the Hands from the El Castillo cave (Cantabria, Spain)

  2025cites this paper
• Stone disc production at Pincevent (France) reveals versatile uses of colouring materials in the Late Magdalenian

  2025cites this paper
• Acehnese Culture-Based Artistic Experimentation in the Creation of the Artwork Imajinisan

  2025cites this paper
• The frog-manikin holding the blue parasol umbrella: imaginative generativity in evolution, life, and consciousness

  2024cites this paper
• Testing tools: an experimental investigation into technical and economic aspects of Levantine rock art production

  2024cites this paper
• Learning by Doing or Doing Without Learning? The Potentials and Challenges of Activity-Based Learning

  2024cites this paper
• PIGMENTS AS A MASS MATERIAL: DISCUSSION OF THE METHODOLOGICAL APPROACH IN RESEARCH

  2024cites this paper
• Formulation of tattoo paints from the assemblage of the Upper Paleolithic site of Ushki V (Kamchatka)

  2024cites this paper
• The deep past in the virtual present: developing an interdisciplinary approach towards understanding the psychological foundations of palaeolithic cave art

  2023cites this paper
• Mezclas pigmentarias, recetas pictóricas e historias: Una aproximación fisicoquímica a las prácticas sociales de pintado en el cerro de Oyola (Catamarca, Argentina)

  2023cites this paper
• Beyond the image: Interdisciplinary and contextual approaches to understanding symbolic cognition in Paleolithic parietal art

  2023cites this paper
• Assessment of Easily Accessible Spectroscopic Techniques Coupled with Multivariate Analysis for the Qualitative Characterization and Differentiation of Earth Pigments of Various Provenance

  2022cites this paper
• Pigment spectography analyses in Maltravieso cave, Spain

  2022cites this paper
• Critical evaluation of in situ analyses for the characterisation of red pigments in rock paintings: A case study from El Castillo, Spain

  2022cites this paper
• Les silex et autres matières premières comme preuves de contacts entre les groupes de chasseurs-cueilleurs pendant le Paléolithique supérieur de la région cantabrique (nord de l’Espagne) : synthèse de l’information disponible

  2022cites this paper
• A study of the artistic corpus of red cave paintings in El Buxu cave (Cangas de Onís, Asturias, Spain)

  2022cites this paper
• Rock paintings, soot, and the practice of marking places. A case study in North-Central Chile

  2021cites this paper
• Lene Kici Cave Art: Possible Symbolic Evidence Associated with Palaeolithic Human Occupation in Timor-Leste

  2021cites this paper
• The symbolic role of the underground world among Middle Paleolithic Neanderthals

  2021cites this paper
• A chronological proposal for El Castillo Cave (Puente Viesgo, Cantabria) based on its iconographic stratigraphy

  2021cites this paper
• Characterizing the pigments and paints of prehistoric artists

  2021cites this paper
• The birth of copper-red glaze: optical property and firing technology of the glaze from Changsha Kiln (8th–9th century)

  2021cites this paper
• Archaeological analyses of pigmenting materials, a case study on Initial Late Holocene hunter-gatherers from North-Central Chile

  2021cites this paper
• Contribution and limits of portable X-ray fluorescence for studying Palaeolithic rock art: a case study at the Points cave (Aiguèze, Gard, France)

  2021cites this paper
• Dispersing the Murk

  2020cites this paper
• Telltale Neanderthal Teeth

  2020cites this paper
• Symbolic Behaviours

  2020cites this paper
• Still no archaeological evidence that Neanderthals created Iberian cave art

  2020cites this paper
• Red Earth, Green Glass, and Compositional Data: A New Procedure for Solid-State Elemental Characterization, Source Discrimination, and Provenience Analysis of Ochres

  2020cites this paper
• Red Earth, Green Glass, and Compositional Data: A New Procedure for Solid-State Elemental Characterization, Source Discrimination, and Provenience Analysis of Ochres

  2020cites this paper
• Hand stencil discoveries at Lene Hara Cave hint at Pleistocene age for the earliest painted art in Timor-Leste

  2020cites this paper
• Neanderthal Language

  2020cites this paper
• Looking for paint mixtures to glimpse pictorial techniques: a micro-stratigraphic physicochemical approach to the rock art from the Oyola’s Caves (Argentina)

  2020cites this paper
• Correction to: Red Earth, Green Glass, and Compositional Data: A New Procedure for Solid-State Elemental Characterization, Source Discrimination, and Provenience Analysis of Ochres

  2020cites this paper
• Early anthropogenic use of hematite on Aurignacian ivory personal ornaments from Hohle Fels and Vogelherd caves, Germany.

  2020cites this paper
• Leaping to Language

  2020cites this paper
• Non-symbolic Behaviours

  2020cites this paper
• Producing Cave Art

  2020cites this paper
• Making Stone Tools

  2020cites this paper
• Making and Wearing Personal Ornaments

  2020cites this paper
• Index

  2020cites this paper
• Burying the dead

  2020cites this paper
• Notes

  2020cites this paper
• Hunting Big Game

  2020cites this paper
• Beautifying Bodies

  2020cites this paper
• Educational Technology Goes Mobile

  2020cites this paper
• Pursuing an Intriguing but Murky Matter

  2020cites this paper
• Teaching Stone-Tool Making

  2020cites this paper
• Preface

  2019cites this paper
• The evolutionary anthropology of political leadership

  2019cites this paper
• Making sense of the chronology of Paleolithic cave painting from the perspective of material engagement theory

  2019cites this paper
• Response to Aubert et al.'s reply ‘Early dates for ‘Neanderthal cave art’ may be wrong’ [J. Hum. Evol. 125 (2018), 215–217]

  2019cites this paper
• From archeological layers to schematic rock art? Integrated study of the Neolithic pigments and pigmented rocks at the Rocher du Château (Western Alps, Savoie, France)

  2019cites this paper
• The Archaeology of the Iberian Peninsula: From the Paleolithic to the Bronze Age

  2019cites this paper
• The First Modern Humans in Iberia:

  2019cites this paper
• Art Origins: The Emergence of Graphic Symbolism

  2019cites this paper
• Archaeologies and Histories of the Iberian Past

  2019cites this paper
• The Emergence of Ranked Societies:

  2019cites this paper
• The Creation of New Worlds:

  2019cites this paper
• The First Iberians and Last Neanderthals:

  2019cites this paper
• The Archaeology of the Iberian Peninsula

  2019cites this paper
• Index

  2019cites this paper
• Bibliography

  2019cites this paper
• The Expansion of Interregional Contacts:

  2019cites this paper
• Educational Technology Goes Mobile: Why? A Case Study of Finland

  2018cites this paper
• A Tale of Two Species: The Origins of Art and the Neanderthal Challenge

  2018cites this paper
• Sequential Incisions on a Cave Bear Bone from the Middle Paleolithic of Pešturina Cave, Serbia

  2018cites this paper
• Second-hand? Insights into the age and ‘authenticity’ of colonial period rock art on the Sunshine Coast, Queensland, Australia

  2018cites this paper
• Characterization of the Inkaterra rock shelter paintings exposed to tropical climate (Machupicchu, Peru)

  2018cites this paper
• An abstract drawing from the 73,000-year-old levels at Blombos Cave, South Africa

  2018cites this paper
• Making sense of the chronology of Paleolithic cave painting from the perspective of material engagement theory

  2017cites this paper
• Beads, pigments and early Holocene ornamental traditions at Bushman Rock Shelter, South Africa

  2017cites this paper
• Sequential Incisions on a Cave Bear Bone from the Middle Paleolithic of Pešturina Cave, Serbia

  2017cites this paper
• New data on the sexual dimorphism of the hand stencils in El Castillo Cave (Cantabria, Spain)

  2017cites this paper
• A Unique Collection of Palaeolithic Painted Portable Art: Characterization of Red and Yellow Pigments from the Parpalló Cave (Spain)

  2016cites this paper
• Preliminaries

  1991cites this paper
• Implications

  1978cites this paper