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La cueva de Altamira en Santillana del Mar
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La cueva de Altamira en Santillana del Mar (1984)La cueva de Altamira en Santillana del MarArt in Red: New Dates for Paintings of Cave of Altamira, Santillana Del Mar, Spain (2024)Art in Red: New Dates for Pai…Une veille de Noël dans la grotte de Niaux avec Jean Clottes (2021)Une veille de Noël dans la gr…Narrativas paleolíticas: Aspectos poco comunes de la puesta en escena (2021)Narrativas paleolíticas: Aspe…La symbolique du bouquetin (2021)La symbolique du bouquetinJean Clottes et l’étude de l’art préhistorique (2021)Jean Clottes et l’étude de l’…New findings in Paleolithic art in the Picos de Europa region (eastern Asturias, Spain). Pre-Magdalenian signical techniques and iconography and their territoriality (2020)New findings in Paleolithic a…La crosse, point d’interrogation ? Poursuite de l’analyse d’un signe néolithique, notamment à Locmariaquer (Morbihan) (2012)La crosse, point d’interrogat…The conservation of the Cueva de Altamira (1994)The conservation of the Cueva…ARTE PALEOLÍTICO Y GEOGRAFÍAS SOCIALES. ASENTAMIENTO, MOVILIDAD Y AGREGACIÓN EN EL FINAL DEL PALEOLÍTICO CANTÁBRICO (1994)ARTE PALEOLÍTICO Y GEOGRAFÍAS…La formation de l'esprit scientifique. (1940)The Oxford Dictionary of English Etymology (1968)Dictionnaire historique de la langue française (1992)The Identification of Prehistoric Hunter-Gatherer Aggregation Sites: The Case of Altamira [and Comments and Reply] (1980)El magdaleniense inferior y medio en la costa Cantábrica (1981)Abrigo de la Viña: informe de las campañas 1987 a 1990 (1990)The Upper Paleolithic of Cantabrian Spain (2005)Rock art and social geography in the Upper Paleolithic. Contribution to the socio-cultural function of the Roc-aux-Sorciers rock-shelter (Angles-sur-l’Anglin, France) from the viewpoint of its sculpted frieze (2013)Methodological contribution to the integrated study of European Palaeolithic rock art: The issue of the audience and the perceptibility of Roc-aux-Sorciers rock art (Angles-sur-l'Anglin, France) (2017)The Meaning of Style in Archaeology: A General Model (1977)U-Series Dating of Paleolithic Art in 11 Caves in Spain (2012)The function of graphic signs in prehistoric societies: The case of Cantabrian quadrilateral signs (2017)Snakes as agents of evolutionary change in primate brains (2006)Tracking in Caves: Experience Based Reading of Pleistocene Human Footprints in French Caves (2015)The Origins of Iconic Depictions: A Falsifiable Model Derived from the Visual Science of Palaeolithic Cave Art and World Rock Art (2018)The Shamans of prehistory: trance and magic in the painted caves (1999)Leopards as Taphonomic Agents in Dolomitic Caves—Implications for Bone Accumulations in the Hominid-bearing Deposits of South Africa (2000)Pleistocene cave art from Sulawesi, Indonesia (2014)Chronological reassessment of the Middle to Upper Paleolithic transition and Early Upper Paleolithic cultures in Cantabrian Spain (2018)WEATHERING THE STORM: DIAGNOSTIC MONITORING FOR PREVENTIVE CONSERVATION AT SPRUCE TREE HOUSE, MESA VERDE NATIONAL PARK, COLORADO (2009)
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  • 1994ARTE PALEOLÍTICO Y GEOGRAFÍAS SOCIALES. ASENTAMIENTO, MOVILIDAD Y AGREGACIÓN EN EL FINAL DEL PALEOLÍTICO CANTÁBRICO18 cited
  • 2012La crosse, point d’interrogation ? Poursuite de l’analyse d’un signe néolithique, notamment à Locmariaquer (Morbihan)8 cited
  • 1994The conservation of the Cueva de Altamira3 cited
  • 2020New findings in Paleolithic art in the Picos de Europa region (eastern Asturias, Spain). Pre-Magdalenian signical techniques and iconography and their territoriality0 cited
  • 2021Narrativas paleolíticas: Aspectos poco comunes de la puesta en escena0 cited
  • 2021Une veille de Noël dans la grotte de Niaux avec Jean Clottes0 cited
  • 2021Jean Clottes et l’étude de l’art préhistorique0 cited
  • 2024Art in Red: New Dates for Paintings of Cave of Altamira, Santillana Del Mar, Spain0 cited
  • 2021La symbolique du bouquetin0 cited

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