L'analogie et la représentation de l'art primitif à la fin du XIXe siècle

In this paper, we will examine the foundations of Western representation of Paleolithic art at the end of the nineteenth century. Taking the period of 1864-1902 into account, we will prove the leading role of analogy between “modern primitive societies” and “prehistoric societies” in the very definition of “primitive art”. According to us, the representation of the “primitive artist” at that time was largely based in comparison between art which came from modern primitive societies living in Africa, Australia or America, and prehistoric art which was authenticated at about 1865. Through this examination, we will show the way in which analogy functions as a main category in the construction of scientific knowledge.