Abstract
Abstract One of the major characteristics of prehistoric arts is that they belong to a very specific spatial context, be it open air, rocks, shelters or caves. The presence of these images in these particular places is a mark of their identity and of the heritage left by these ancient societies and their beliefs, ever since the first cultural manifestations of the Upper Palaeolithic in Europe. The specific choice of a wall or of a particular background, of a location in the cave can thus be just as significant as the image that one chooses to represent or the way in which they choose to represent it. This is why the present research intends to study the links between the images and their supports, through a family which has already shown a particular affinity with the space: the family of signs. The example of the signs highlights the fundamental role of the supports in the construction of images and the important and sometimes radical influence of the cave on their graphic identity. They illustrate thus “ways of expression” of the prehistoric men, expression of their developed and complex reasoning.
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