1963 | 1-50 | Search Results | UM Museum of Anthropological Archaeology | University of Michigan Library Digital Collections

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Description: African Sculpture Map; West Africa, Tribal Locations.
Date of Photo: 1963
Holdings: 35mm slide: 3599

Description: Olmec figurine said to be from Guatemala. Figure owned by Miss Joan Williamson.
Date of Photo: 1963
Holdings: 35mm slide: 9222

Description: Olmec figurine said to be from Guatemala. Figure owned by Miss Joan Williamson.
Date of Photo: 1963
Holdings: 35mm slide: 9223

Description: Olmec figurine said to be from Guatemala. Figure owned by Miss Joan Williamson.
Date of Photo: 1963
Holdings: 35mm slide: 9224

Description: Olmec figurine said to be from Guatemala. Figure owned by Miss Joan Williamson.
Date of Photo: 1963
Holdings: 35mm slide: 9225

Description: Olmec figurine said to be from Guatemala. Figure owned by Miss Joan Williamson.
Date of Photo: 1963
Holdings: 35mm slide: 9226

Description: Olmec figurine said to be from Guatemala. Figure owned by Miss Joan Williamson.
Date of Photo: 1963
Holdings: 35mm slide: 9227

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9240

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9241

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Description: Sala de las pinturas (Detalle II), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9242

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9243

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Description: Sala de las pinturas (Detalle I), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9244

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Description: Sala de las pinturas (Detalle III), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9245

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9246

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Description: Sala de las pinturas, Cierva (Detalle), Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9247

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Description: Sala de las pinturas, "Caballa", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9248

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Description: Sala de las pinturas, "Cierva", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9249

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Description: Sala de las pinturas, "Bisontes", Pelicula.
Date of Photo: 1963
Holdings: 35mm slide: 9250

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Description: Las Monedas, Spain. Horse and falling bison. Here we see a new use made of a cornice, with the narrow band along the edge carrying a frieze of black animals. On the far left, the muzzle and forequarters of a bison can be seen; it appears to be falling backward toward the rocky hollow. On a more important area is the sketch of a black horse, with the beginning of modeling toward the start of tail and to a greater extent on the chest. The head, how
Date of Photo: 1963
Holdings: 35mm slide: 9251

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Description: Cueva de Altamira. Bisonte Eschado.
Date of Photo: 1963
Holdings: 35mm slide: 9252

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Description: Cueva de Altamira. Bisonte Parado.
Date of Photo: 1963
Holdings: 35mm slide: 9254

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Description: Cueva de Altamira. Bisonte Parado.
Date of Photo: 1963
Holdings: 35mm slide: 9255

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Description: Cueva de Altamira. Cabeza de Ciervas.
Date of Photo: 1963
Holdings: 35mm slide: 9256

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Description: Cueva de Altamira. Sala de las pinturas.
Date of Photo: 1963
Holdings: 35mm slide: 9257

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Description: Cueva de Altamira: The Great Hall. Brown and black bison. (Bison in bistre with black strokes) 11/7 This bison (6 feet in length, Abbe' Breuil's #21) stands solidly on the ceiling. A faded bistre dominates the figure, whose deterioration can be compared with 8/2, the galloping wild boar. Here the mane and dewlap are executed first in fine engraved lines, and then in bands of black. These zebra-like stripes are even more clearly marked on the rum
Date of Photo: 1963
Holdings: 35mm slide: 9258

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Description: Cueva de Altamira: The Great Hall. Archaic red ibex. 11/11 Before the front hooves of the large red horse seen in 11/9 this graceful small ibex is situated; its bearing a little stiff, it is clearly of the Aurignaco-Perigordian period. We can make out an effect -- if quite faint -- of stippling, to achieve the line: a seeming transition between the broken line and true linear drawing. There is a strong affinity between this ibex and beautiful head
Date of Photo: 1963
Holdings: 35mm slide: 9259

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Description: Cueva de Altamira. The Galleries. Black quadrille design. (Black rectangles.) 15/11 This is an interesting and important series of enigmatic signs, giving a checkered effect within more or less curvilinear outlines. It occupies the remote depths of the last gallery of Altamira.; These signs were termed "tectiform" by Abbe' Bruil, that is, in the shape of a roof. But one might see in them gates, traps, shields, nets, screens, and so forth. The tw
Date of Photo: 1963
Holdings: 35mm slide: 9260

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Description: Cueva de Altamira. Polychrome Bison with turned head. 8/5 This is a particularly evocative example of the master artistry of Altamira. Elsewhere we have found that a rocky hump can readily have prefigured a bison in a crouching position, ready to spring, or to roll over (3/12). That is the simple and direct utilization of a natural relief. Here we find a technique which is far more sophisticated. The bison in this slide is developed between two
Date of Photo: 1963
Holdings: 35mm slide: 9261

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Description: Cueva de Altamira. Wild boar running. ?/2 This is one of the most truly classical and celebrated works of Quaternary art. Catalogued as #22 by Abbe' Breuil, it measures 21 3/4" in length. It is the first painting to be seen on entering the Great Hall, to the left of the entrance hall. Relative proximity to outside air has had its effect on the painting. This galloping wild boar, expressing power and movement, is a masterpiece of naturalist anima
Date of Photo: 1963
Holdings: 35mm slide: 9262

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Description: Cueva de Altamira. Crouching bison. 3/12 These polychrome bison of Altamira make their presence felt strongly. A number of them are situated on the convexities of the Great Ceiling. Thus they acquire a seeming relief, often extending 20" which is intensified by expert use of colors for modeling. The reliefs doubtlessly suggested the bison in the first place, but the bison in turn give the relief an obsessive kind of reality.
Date of Photo: 1963
Holdings: 35mm slide: 9263

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Description: Cueva de Altamira. Hind. 8/8 This beautiful deer is the largest image on the Altamira ceiling Catalogued as #1 by Abbe' Breuil, it is 7'4 3/4" in length. It is enthroned in the area farthest from the entrance and is turned in that direction.; The perfection of technique here is evident. We see it in the precision of the black lines and the expert quality of the modeling in red, both of which underscore the calm elegance of the pose. Whatever expl
Date of Photo: 1963
Holdings: 35mm slide: 9264

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Description: Cueva de Altamira. Relief as an animal's head. 15/9 Accidents of nature attract attention and excite the imagination. Contemporary visitors to the caves, in the presence of concretions admire a "steeple" or a "pagoda." Prehistoric men, on the other hand, saw in these haphazard shapes animals familiar to them. Readily they "retouched" the rock or heightened it with black lines to emphasize reality.; In this case a rocky angle suggested a nose; two
Date of Photo: 1963
Holdings: 35mm slide: 9265

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Description: La Pasiega: The Gallery. Spain. Ill-proportioned horse. This sketch is artictically far from the elegant proportions of the red hind (22/1), even if both belong to the same chronological phase. All artistic treatment is evidently the function of its creator, of his more or less adroit pencil, of his more or less true vision. And clumsiness, as a human characteristic, has no chronolical restriction. Here we are looking at the sketch of a horse, bu
Date of Photo: 1963
Holdings: 35mm slide: 9266

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Description: Le Tuc D'Adoubert, France. Bison in clay. In the course of exploring a subterranean river in the Ariége, Max Begouën and his two brothers discovered the Tuc d' Audoubert in 1912. In the middle of a hall situated some 700 yards form the entrance, after a long, narrow and difficult passage, are two bison modeled in clay, the male following the female. This sculptured couple is witness to the magical rites of fecundity, whose purpose it was to assure
Date of Photo: 1963
Holdings: 35mm slide: 9268

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Description: Le Portel, France. Ithyphallic design. 2/2 The genesis of this human figuration, done in very rough treatment (it belongs to an early phase of the Aurignaco-Perigordian cycle), carries a strong psychological interest. A stalagmitic relief at right angles to the wall was apparently endowed with a symbolic meaning. This appendage was created a human silhouette, its neck well indicated, its face turned to the left, given life by a finely done eye. T
Date of Photo: 1963
Holdings: 35mm slide: 9269

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Description: Le Portel, France. Black bison face to face. 3/5 The discovery of parietal art in Le Portel dates from 1908 (Dr. Rene' Jeannel). There are 3 galleries in all. These Magdalenian bison, face to face, comprise the masterpiece of Le Portel. They follow the classic theme of animals confronting and sniffing at each other, ready for battle or mating. The bison on the right is the more expressive of the two and the more strongly rendered, thanks in par
Date of Photo: 1963
Holdings: 35mm slide: 9270

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Description: Le Portel, France. Main Gallery. Magdalenian horse. 23/2 An improvement in the state of the figures is seen as we move toward the interior of the gallery: first the almost-obliterated headless bison, then the "owl," and here this well preserved horse, 21 3/4" in length.; With its lengthened muzzle turned leftward, the mane marked by double lines, and the long tail, the horse belongs to the beginning of the Magdalenian cycle. It carries -- as if they
Date of Photo: 1963
Holdings: 35mm slide: 9271

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Description: Le Portel, France. Aurignacian reindeer. 23/5 To the right of the enigmatic "hand" (23/4) and dating from the same Aurignacian phase is this beautiful sketch of a reindeer, also executed in strokes of red. If the lower part ever existed, it is now almost obliterated.; On the other hand, the dorsal line is quite clear, and especially so the magnificent development of the antlers. It is seen head on, although the back suggests an animal in profile.
Date of Photo: 1963
Holdings: 35mm slide: 9272

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Description: Le Portel, France. Panel of 5 engraved mammoths. ?/? This masterpiece is on the wall to the right of the Sacred Way, after the forking of the Breuil Gallery. These five mammoths provide a remarkable composition, of which we see here only the central motif: the confrontation of mammoths. Between the two leaders, facing each other, in a classically pyramidal composition a young mammoth is felicitously placed, separating the curvilinear tusks of the t
Date of Photo: 1963
Holdings: 35mm slide: 9273

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Description: Le Portel, France. Panel of 5 engraved mammoths. Close up image of slide #9273.
Date of Photo: 1963
Holdings: 35mm slide: 9274

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Description: Le Portel, France. Panel of engraved mammoths (detail). This is the leader of the group to the left. One of the most impressive mammoths of Rouffignac, it is expertly engraved on a marly limestone. The rendering of details is important: the long hairs adorning the farther part of the trunk, the elegance of the large curvilinear tucks, the sardonic expression of the eye. Three spear-thrusts seem to have wounded the beast; this suggests the ritual
Date of Photo: 1963
Holdings: 35mm slide: 9275

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Description: Le Portel, France. Five engraved mammoths (detail). This is the second mammoth on the left, actually engraved first, before the leader, since his tusks are converged by the strong dorsal line of the other. This admirable mammoth has been riddled with what appear to be ritual strokes: four on the right flank and one on the forequarters. A long scar cuts across his front, and above it are other arrow-like lines. The undeniable quest for artistic ex
Date of Photo: 1963
Holdings: 35mm slide: 9276

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Description: Le Portel, France. Frieze of rhinoceroses. Leaving the main artery of the "Sacred Way" to enter the Breuil Gallery, on the right, the visitor comes upon this great frieze of rhinoceroses. A wide band of marly limestone, some 6' above the floor, emphasized by an upper garland of kidney-stones: such is the setting for the frieze. And this group of three magnificent rhinoceroses, moving toward the right, was to Abbé Breuil the most beautiful of quate
Date of Photo: 1963
Holdings: 35mm slide: 9277

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Description: Niaux, France. Panel, salon noir. 3/9 As far back as the 18th century, this cave had visitors, come to admire what is now called the "Salon Noir." In September 1906 these frescoes came to the attention of Emily Cartailhac and Abbe' Bruil. From then on the paintings of Niaux became part of modern scientific knowledge. The "Salon Noir," about 800 yards deep in the cave, is decorated with masterpieces of the last stage of Magdalenian art: bison, hor
Date of Photo: 1963
Holdings: 35mm slide: 9283

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Description: Niaux, (Ariege) France. Head of horse under a crystallization. The informed mind no longer questions the authenticity of Quaternary art. But one can understand the skepticism that greeted this richness of color, this elegance and finesse drawing and -- as much as anything else -- the preserved state of works to be seen in the caves. This head of a bearded horse does not differ much from its neighbor (3/10), which we have seen before. Situated on
Date of Photo: 1963
Holdings: 35mm slide: 9284

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Description: Niaux, France. Heart of the Salon Noir (detail). 6/8 On light-colored rock, starry with calcite efflorescence, the purest drawings of Niaux are seen. Here is the serene and majestic head of the great bison, pierced by three black arrows as seen in 6/7. Its expressive eye recalls that of the expertly engraved mammoth of Rouffignac (3/?). At Niaux, more than in any other cave yet discovered, the richness of detail provides an aesthetic delight: the
Date of Photo: 1963
Holdings: 35mm slide: 9285

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Description: Niaux, France. Ibex of the Salon Noir. 6/12 The dualism between magical imperative and aesthetic suggestion allows, according to circumstances, either a happy or a tragic solution. The little horse pierced by an arrow (6/11), placed below the bison struck by three black arrows (6/7), represents a happy solution. In passing, we note a less happy solution: the vigorous croup of the large black horse here obliterates a modest little bison, drawn with
Date of Photo: 1963
Holdings: 35mm slide: 9286

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Description: Niaux, France. Stag in natural relief. 10/8 Here we see a most remarkable, even sensational utilization of a natural relief. In this "composition" the artist built an image about the suggestion conveyed to him by a hallow in the rock. Evidently, this concavity showed itself to him a stag's head, seen from in front, or from behind. A rocky shoulder to the right obviously suggested antlers, and it would appear that the artist forthwith defined them
Date of Photo: 1963
Holdings: 35mm slide: 9287

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Description: Niaux, France. Bison with two black arrows. 10/11 Here once more we find evidence of a sense of creativity whence issued the development of the black horse seen in the proceeding slide, but this time applied to a bison. The animal, 39" long, rests on a rocky scale, securely positioned with its front feet on one side and its hind feet on the other.; Two heavily defined ritual arrows, represented by converging lines, wound the bison in its right fla
Date of Photo: 1963
Holdings: 35mm slide: 9288

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Description: Niaux, France. III Small wounded ibex. 14/4 Between and to the right of the two preceding bison is an ibex of much smaller stature. The size of the ibex may have been deliberated, to minimize its importance vis-à-vis the bison. Of the panel. (In any case, the relation of the ibex to the bison gives no clue to its comparative age. The head of the ibex seems to droop under the impact of the blows it has received: two javelins in the chest.
Date of Photo: 1963
Holdings: 35mm slide: 9289

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