Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Today the cave of Altamira in northern Spain, with its famous ceiling decorated with magnificent painted figures of bison, horses, deer, and wild cattle, is acknowledged as one of the great monuments of prehistoric art.It seems surprising, therefore, that when the cave was first discovered in 1879 and presented to the scholarly world, it was greeted with scepticism ranging from mild caution to outright contempt. The reasons for this reaction were many. The discoverer of the cave, Marcelino Sanz de Sautuola, was not an academic prehistorian. Moreover, everything about Altamira seemed excessive: its great antiquity, its vast size, the astonishing quality of its paintings. Nothing even remotely like it had been seen before.Scholars in the late nineteenth century believed that Paleolithic people were capable of little more than instinctive action. However, the drawings, engravings, and especially the paintings in the Polychrome Chamber at Altamira were clearly the work of artists whose mastery of their media and artistic sensibilities rivaled those of the great European masters. If the art at Altamira was genuine, theories accepted by the most distinguished authorities on prehistoric art would have to be discarded. Not surprisingly, there was considerable resistance to accepting the authenticity of the paintings. The result was that one of the greatest works of Paleolithic art was virtually ignored for more than twenty years.As time went on, however, opinions began to change. New discoveries during the 1890s and early in the twentieth century brought to light a wealth of Paleolithic artifacts and paintings that looked strikingly like the art at Altamira. By 1905 the paintings inthe cave were finally accepted as what they are: some of the finest and most important surviving works of prehistoric art.This beautiful book presents a fresh look at the cave at Altamira in light of the many exciting disco. Buchnummer des Verkäufers
Inhaltsangabe: Presents a fresh look at the cave at Altamira in light of the many exciting discoveries made in the field of Paleolithic archaeology in recent years. Seven essays examine a number of theories about cave art and bring together what is known about the people who occupied and created the art at Altamira. Since the cave has been closed to visitors for many years, and visits to it in the future will be greatly restricted, distinguished photographer Saura's fascinating color and b&w images provide a unique chance to see the art in detail both in large views and at close range.
From the Publisher: This splendid volume offers a fresh look at one of the finest surviving works of Paleolithic art: the paintings in the cave of Altamira in northern Spain. Discovered in 1879, these vivid likenesses of horses, cattle, and bison seemed so fresh and "modern" that critics doubted their authenticity, and suspected an elaborate hoax. Only in 1905, with the first scholarly analysis of the works, were they finally accepted as Paleolithic art. Charts, maps, and descriptions guide readers through the cave chamber by chamber, and specially commissioned photographs reveal the paintings in superb detail. The various theories regarding the paintings' significance are clearly explained, along with recent discoveries about the techniques used by Paleolithic artists-and about the people themselves who left their mark on Altamira. 102 illustrations in full color, 22 line drawings, 2 maps, 811/2 x 9" Antonio Beltrn is a respected Spanish expert in Paleolithic art. Pedro A. Saura Ramos is a professor of photography in the Faculty of Fine Arts at the University Complutense of Madrid. He has photographed archaeological excavations for Spain's National Archaeology Museum. Jos Antonio Lasheras Corruchaga, Matilde Mzquiz Prez-Seoane, And Federicoc Bernardo De Quir"S Are all published scholars of Paleolithic art.
Buchbeschreibung Harry N. Abrams, 1999. Buchzustand: Good. 1st. Shows some signs of wear, and may have some markings on the inside. Buchnummer des Verkäufers GRP3486971
Buchbeschreibung Harry N. Abrams, 1999. Buchzustand: Good. 1st. Former Library book. Shows some signs of wear, and may have some markings on the inside. Buchnummer des Verkäufers GRP2540259
Buchbeschreibung Harry N. Abrams, 1999. Buchzustand: Very Good. 1st. Great condition for a used book! Minimal wear. Buchnummer des Verkäufers GRP63837234
Buchbeschreibung Harry N. Abrams, 1999. Hardcover. Buchzustand: Used: Good. Buchnummer des Verkäufers SONG0810919893
Buchbeschreibung Buchzustand: Good. Book Condition: Good. Buchnummer des Verkäufers 97808109198914.0
Buchbeschreibung Buchzustand: Very Good. Book Condition: Very Good. Buchnummer des Verkäufers 97808109198913.0
Buchbeschreibung Abrams, 1999. Paperback. Buchzustand: Very Good. Book in very good condition, neat and attractive with a like new feel. Buchnummer des Verkäufers 082879
Buchbeschreibung Harry N. Abrams, 1999. Hardcover. Buchzustand: Used: Like New. slight dust jacket wear, Hardcover Book, Buchnummer des Verkäufers 1707150133
Buchbeschreibung Harry Abrams, 1999. Couverture rigide. Buchzustand: Très bon état. In-4° cartonné (32 cm sur 27). Livre en Anglais. 180 pages. Bon état d’occasion. Poids sans emballage : 1642 grammes. Jaquette légèrement frottée en coins, sinon très bon état. in-4°. Buchnummer des Verkäufers 49166
Buchbeschreibung Harry N. Abrams. Hardcover. Buchzustand: Fine. 0810919893 Like New Condition. Buchnummer des Verkäufers LN6.0480604