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Extinct worlds live again in paleoart: artworks of fossil animals, plants, and environments carefully reconstructed from paleontological and geological data. Such artworks are widespread in popular culture, appearing in documentaries, museums, books, and magazines, and inspiring depictions of dinosaurs and other prehistoric animals in cinema. This book outlines how extinct animals and environments can be reconstructed from their fossils, explaining how palaeoartists overcome gaps in fossil data and predict "soft-tissue" anatomies no longer present around fossil bones. It goes on to show how science and art can meet to produce compelling, interesting takes on ancient worlds, and explores the goals and limitations of this popular but rarely discussed art genre.

Paleoart --- Prehistoric animals in art --- Dinosaurs in art --- Painting --- Drawing --- Technique --- Technique

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Since the late 1980s the dominant theory of human origins has been that a 'cognitive revolution' (C.50,000 years ago) led to the advent of our species, Homo sapiens. As a result of this revolution our species spread and eventually replaced all existing archaic Homo species, ultimately leading to the superiority of modern humans. Or so we thought. As Clive Finlayson explains, the latest advances in genetics prove that there was significant interbreeding between Modern Humans and the Neanderthals. All non-Africans today carry some Neanderthal genes. We have also discovered aspects of Neanderthal behaviour that indicate that they were not cognitively inferior to modern humans, as we once thought, and in fact had their own rituals and art. Finlayson, who is at the forefront of this research, recounts the discoveries of his team, providing evidence that Neanderthals caught birds of prey, and used their feathers for symbolic purposes. There is also evidence that Neanderthals practised other forms of art, as the recently discovered engravings in Gorham's Cave Gibraltar indicate. Linking all the recent evidence, The smart Neanderthal casts a new light on the Neanderthals and the "Cognitive Revolution". Finlayson argues that there was no revolution and, instead, modern behaviour arose gradually and independently among different populations of Modern Humans and Neanderthals. Some practices were even adopted by Modern Humans from the Neanderthals. Finlayson overturns classic narratives of human origins, and raises important questions about who we really are

Neanderthals --- Bird remains (Archaeology) --- Birds --- Cognition and culture --- Behavior evolution --- Human evolution --- Social aspects --- History --- Neanderthals. --- Birds. --- Prehistoric peoples. --- Prehistoric animals in art. --- Birds - Social aspects - History

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Biological anthropology. Palaeoanthropology --- Iconography --- anno 1910-1919 --- anno 1900-1909 --- anno 1800-1899 --- Prehistory --- anno 1920-1929 --- prehistorie --- Liefde --- antropologie --- archeologie --- Dood --- naakt --- geschiedenis --- Venus (godin) --- Caïn (bijbelse figuur) --- Figuier, Louis --- Cormon, Fernand --- Roux, Constant --- Mascré, Louis --- Rutot, Aimé --- Jamin, Paul --- 1830 - 1930 --- 19de eeuw --- 20ste eeuw --- Exhibitions --- Venus --- Paleontology --- Prehistoric animals in art --- Prehistoric peoples in art --- Man, Prehistoric, in art --- Animals, Fossil, in art --- Fossilogy --- Fossilology --- Palaeontology --- Paleontology, Zoological --- Paleozoology --- History --- Historical geology --- Zoology --- Fossils --- Prehistoric animals in motion pictures --- prehistorie (historisch tijdvak) --- liefde --- (verhaal van) Venus (Afrodite) --- geschiedenis en archeologie --- prehistorie (historisch tijdvak). --- liefde. --- (verhaal van) Venus (Afrodite). --- antropologie. --- geschiedenis en archeologie. --- Dood. --- naakt. --- geschiedenis. --- Venus (godin). --- Caïn (bijbelse figuur). --- Figuier, Louis. --- Cormon, Fernand. --- Roux, Constant. --- Mascré, Louis. --- Rutot, Aimé. --- Jamin, Paul. --- 1830 - 1930. --- 19de eeuw. --- 20ste eeuw.