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Cartailhac, Emile (Edouard Phillipe)

(1845–1921)

Emile (Edouard Phillipe) Cartailhac was born in Marseilles, France. He became a geologist and worked with Edouard and Henri Filhol at the Musée d’Histoire Naturelle in Toulouse, and it was those two men who encouraged his interest in prehistory. In 1866, Cartailhac moved to Paris where he was influenced by French prehistorians gabriel de mortillet and henri breuil. Cartailhac and Mortillet were the founders of the International Congress of Anthropology and Prehistoric Archaeology, which held its first meeting in Neuchâtel, Switzerland, in 1866. In 1869, Cartailhac bought the journal founded by Mortillet, Materiaux pour l’histoire naturelle et primitive de l’homme, an important publication for promoting prehistory and anthropology. Cartailhac edited and published the journal until 1890 when it was amalgamated with the Revues d’Anthropologie and d’Ethnologie to form L’Anthropologie.

Cartailhac is most famous for his role in the authentication of Paleolithic cave art. In the late nineteenth century quantities of moveable Paleolithic pieces of art, engravings, and sculptures on bone, ivory, and antler wood were exhumed from prehistoric sites along with animal and human bones and stone tools. These cave sites were occasionally decorated with engravings and representations on their walls and ceilings, and the idea that early prehistoric humans could create art as well as stone tools was rejected by Cartailhac and many other archaeologists, who argued that this cave art was neither old nor authentic. By the beginning of the twentieth century, however, this view began to be debated as more discoveries of carvings and cave paintings were made at sites that were clearly from the Upper Paleolithic period. The study of ethnology had grown, and there was now evidence of this kind of art, some of it contemporary, all over the world.

In 1902, Cartailhac and Breuil rediscovered and explored the magnificent cave of altamira in Spain. First found in 1879 by a local landowner and his daughter, the cave had been considered a forgery, rejected as an example of prehistoric art, and neglected. Visiting it certainly changed Cartailhac’s mind—perhaps the