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La préparation des peintures magdaléniennes des cavernes ariégeoises
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  • 2000The revolution that wasn't: a new interpretation of the origin of modern human behavior2,717 cited
  • 1995Gender and prehistoric technology: On the social agency of technical strategies122 cited
  • 2016The technology of the earliest European cave paintings: El Castillo Cave, Spain93 cited
  • 2008A comprehensive micro‐Raman spectroscopic study of prehistoric rock paintings from the Sierra de las Cuerdas, Cuenca, Spain91 cited
  • 2021Characterizing the pigments and paints of prehistoric artists81 cited
  • 2008THE ORIGIN AND GEOCHEMICAL CHARACTERIZATION OF RED OCHRES FROM THE TITO BUSTILLO AND MONTE CASTILLO CAVES (NORTHERN SPAIN)*80 cited
  • 2006Minerals discovered in paleolithic black pigments by transmission electron microscopy and micro-X-ray absorption near-edge structure77 cited
  • 2014First use of portable system coupling X-ray diffraction and X-ray fluorescence for in-situ analysis of prehistoric rock art77 cited
  • 2012How old are Australia's pictographs? A review of rock art dating57 cited
  • 2017Identification of plant cells in black pigments of prehistoric Spanish Levantine rock art by means of a multi-analytical approach. A new method for social identity materialization using chaîne opératoire56 cited
  • 2016Painting Altamira Cave? Shell tools for ochre-processing in the Upper Palaeolithic in northern Iberia54 cited
  • 2002Characterisation of painting materials from Eritrea rock art sites with non-destructive spectroscopic techniques

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51 cited
  • 2013Minateda rock shelters (Albacete) and post-palaeolithic art of the Mediterranean Basin in Spain: pigments, surfaces and patinas40 cited
  • 2019First in situ pXRF analyses of rock paintings in Erongo, Namibia: results, current limits, and prospects40 cited
  • 2011PIXE characterisation of prehistoric pigments from Abri Pataud (Dordogne, France)39 cited
  • 1992Prehistoric cave painting PIXE analysis for the identification of paint “pots”38 cited