A further question to the theory of art for art's sake is posed by
the high incidence of Paleolithic images that appear not to be imitative
of any reality whatsoever. These are geometrical shapes or patterns
consisting of dots or lines. Such marks may be found isolated or
repeated over a particular surface but also scattered across more
recognizable forms. A good example of this may be seen in the
geologically spectacular grotto of Pêche Merle, in the Lot
region of France. Here we encounter some favorite animals from
the Paleolithic repertoire—a pair of stout-bellied horses.
But over and around the horses' outlines are multiple dark
spots, daubed in disregard for the otherwise naturalistic
representation of animals. What does such patterning imitate? There
is also the factor of location. The caves of Lascaux might
conceivably qualify as underground galleries, but many other
paintings have been found in recesses totally unsuitable for
any kind of viewing—tight nooks and crannies that must have
been awkward even for the artists to penetrate, let alone for
anyone else wanting to see the art.