Clottes and Courtin, The Cave Beneath the Sea, p. 165.
Ibid., p. 137.
Ibid., p. 150.
Randall White, Prehistoric Art: The Symbolic Journey of Mankind, Harry N. Abrams, New York, p. 97.
Mario Ruspoli, The Cave ofLascaux: The Final Photographs, Harry N. Abrams, New York, p. 109–125, 200– 201.
Ibid., p. 156.
Ibid., p. 158–159.
Ibid., p. 158.
Pedro A. Saura Ramos, The Cave of Altamira, Harry N. Abrams, New York, 1999, p. 53.
Личные наблюдения в Альтамире II. Смотри также: Saura Ramos, The Cave of Altamira, p. 37; L. G. Freeman, et al., Altamira Revisited and other Essays on Early Art, Institute for Prehistoric Investigations, Chicago/Santander, 1987, p. 221.
Saura Ramos, The Cave of Altamira, p. 144; Miguel Angel Garcia Guinea, Altamira and other Cantabrian Caves, Silex, Madrid, 1979, p. 151.
Saura Ramos,
John E. Pfeiffer, The Creative Explosion: An Inquiry into the Origins of Art and Religion, Harper and Row, New York, 1982, p. 136–137; Sieveking, The Cave Artists, p. 66; Denis Vialou, Our Prehistoric Past, Thames and Hudson, London, 1998, p. 90–91.
Sieveking, The Cave Artists, p. 9-
Vialou, Our Prehistoric Past, p. 51; Sieveking, The Cave Artists, p. 9; Jean Clottes and David Lewis-Williams, The Shamans of Prehistory: Trance and Magic in the Painted Caves, Harry N. Abrams, New York, 1998, p. 76–77, 93.
