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The first in situ micro-Raman spectroscopic analysis of prehistoric cave art of Rouffignac-St-Cernin, France
14 references·16 citing·39 second hop
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References

  • 2010Symbolic use of marine shells and mineral pigments by Iberian Neandertals681 cited
  • 2003Analysis of rock art painting and technology of Palaeolithic painters171 cited
  • 2000Raman spectroscopic analysis of pigments and substrata in prehistoric rock art137 cited
  • 1999An initial Raman microscopic investigation of prehistoric rock art in caves of the Quercy District, S.W. France133 cited
  • 2010The first in situ Raman spectroscopic study of San rock art in South Africa: procedures and preliminary results117 cited
  • 2008Nondestructive on‐site identification of ancient glasses: genuine artefacts, embellished pieces or forgeries?113 cited
  • 2006Preliminary investigations by Raman microscopy of prehistoric pigments in the wall‐painted cave at Roucadour, Quercy, France113 cited
  • 2008A portable instrument for in situ determination of the chemical and phase compositions of cultural heritage objects101 cited
  • 2008A comprehensive micro‐Raman spectroscopic study of prehistoric rock paintings from the Sierra de las Cuerdas, Cuenca, Spain91 cited
  • 2008The first Raman spectroscopic study of San rock art in the Ukhahlamba Drakensberg Park, South Africa87 cited
  • 2006Minerals discovered in paleolithic black pigments by transmission electron microscopy and micro-X-ray absorption near-edge structure77 cited
  • 2006Raman spectroscopy in art and archaeology77 cited
  • 2006Introduction to Raman microscopy of prehistoric rock paintings from the Sierra de las Cuerdas, Cuenca, Spain

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56 cited
  • 2001Manganese Black Pigments in Prehistoric Paintings: the Case of the Black Frieze of Pech Merle (France)51 cited
  • Cited by

    • 2016Selection and Use of Manganese Dioxide by Neanderthals106 cited
    • 2014Searching for consistencies in Châtelperronian pigment use60 cited
    • 2015Micro-Raman spectral identification of manganese oxides black pigments in an archaeological context in Northern Chile49 cited
    • 2017On‐site Raman study of artwork: Procedure and illustrative examples44 cited
    • 2015Micro‐Raman analysis of pigments from hunter–gatherer archaeological sites of North Patagonia (Argentina)35 cited
    • 2015Characterising pigments on 30 000-year-old portable art from Apollo 11 Cave, Karas Region, southern Namibia34 cited
    • 2016Imaging the Layered Fabric Of Paints From Nomansland Rock Art (South Africa)33 cited
    • 2016Efficient quantification procedures for data evaluation of portable X-ray fluorescence – Potential improvements for Palaeolithic cave art knowledge33 cited
    • 2015Raman microscopy of prehistoric paintings in French megalithic monuments29 cited
    • 2014In‐situ and laboratory Raman analysis in the field of cultural heritage: the case of a mural painting28 cited
    • 2013μ‐Raman spectroscopy of prehistoric paintings from the Abrigo Remacha rock shelter (Villaseca, Segovia, Spain)28 cited
    • 2021Study on the pigments of Chinese architectural colored drawings in the Altar of Agriculture (Beijing, China) by portable Raman spectroscopy and ED-XRF spectrometers27 cited
    • 2015Historic Mineral Pigments: Colorful Benchmarks of Ancient Civilizations25 cited
    • 2016A Unique Collection of Palaeolithic Painted Portable Art: Characterization of Red and Yellow Pigments from the Parpalló Cave (Spain)25 cited
    • 2019A preliminary study on ochre sources in Southwestern Germany and its potential for ochre provenance during the Upper Paleolithic23 cited
    • 2013Non-Destructive Portable Analytical Techniques for Carbon In-Situ Screening Before Sampling for Dating Prehistoric Rock Paintings19 cited