Niaux, France. The Bison of the "cups". 17/5 One of the major works of Niaux -- indeed, of Quaternary art itself -- is this bison. Engraved in clay, it bears witness to the technique and graphic genius of the Magdalenian artist. In its way this work calls to mind the art of a Matisse, A Picasso, or one of the great Japanese print-makers. Here we see how, on this clay surface, natural cups were formed, little hollows created by drops of water fall
Niaux, France. The Galleries. Bison of the "Cups" detail. 17/6 As noted, one of these cups was chosen; it served to form the globe of the eye, and with this as the probable starting point, the admirable design of a bison unfolded. We have already commented on the sure and expert line, freely engraved in the clay. But equally remarkable is the quality of the design which developed from the point-of-departure of the natural "eye," the cup. Inspire
Niaux, France. Sketch of horse with arrows. 17/11 A major point of interest in Niaux is the symbolism and abstract character of its subject matter. This is true even when the obscurity of the symbol or the abstraction makes it difficult or impossible to comprehend the composition.
Here a long horizontal red arrow, profusely barbed, is shown, the barbs seen on the left. Above it is the sketch of a small red horse, the muzzle pointing to the right
Rouffignac, France. The "DuBois" rhinoceros. The second rhinoceros of the frieze, 43" long, is to all appearance a female. It is likely that the longer, but also thinner and sharper, horns were attributes of the females, which could well have used them not merely for protection but to guide their young as well. An inscription, cut with a knife, of the name "DuBois" was done apparently in recent times by a local cave-explorer, ignorant of prehistor