The famous palaeolithic paintings found in caves such as that at Lascaux in the Dordogne have been interpreted as evidence that, at least implicitly people were operating 20,000 or more years ago with teleological intent in terms of past, present, and future. It may well be that those responsible for the so-called 'Dancing Sorcerer' ...may have felt that the actual performance of the dance was insufficient, since they were concerned with the magical efficacy of the dance after it ended.

The Paleolithic hunters who painted the unsurpassed animal murals on the ceiling of the cave at Altamira had only rudimentary tools. Art is older than production for use, and play older than work. Man was shaped less by what he had to do than by what he did in playful moments. It is the child in man that is the source of his uniqueness and creativeness, and the playground is the optimal milieu for the unfolding of his capacities.

Most humans, it seems, still put up fences around their acts and thoughts – even when these are piles of shit – for they have no other way of delimiting them. Contrast Paleolithic cave paintings, in which animals and magical markings are overlayed with no differentiation or sense of framing. But when some of us have worked in natural settings, say in a meadow, woods, or mountain range, our cultural training has been so deeply ingrained that we have simply carried a mental rectangle with us to drop around whatever we were doing. This made us feel at home. (Even aerial navigation is plotted geometrically, thus giving the air a 'shape').

Dots are just one example of an element in Lascaux art, and in all cave art... This is a profusion of nonrepresentational, geometric patterns. In addition to dots, there are grids and chevrons, curves and zigzags, and more. ...The coincidence of these geometric motifs with representational images is one of the most puzzling aspects of Upper Paleolithic art. ...images, six different kinds in all, are shimmering, incandescent, mercurial—and powerful. Called entoptic images—which means "within vision"—these phenomena are products of the basic neural architecture of the human brain.

In the beginning was the dream...
In the eternal night where no dawn broke, the dream deepened.
Before anything ever was, it had to be dreamed...

If we take Nature as the great artist, then all presences in the
world have emerged from her mind and imagination. We are
children of the earth's dreaming. It's almost as if Nature is in
dream and we are her children who have broken through the
dawn into time and place. Fashioned in the dreaming of the
clay, we are always somehow haunted by that; we are unable
ever finally to decide what is dream and what is reality. Each
day we live in what we call reality, yet life seems to resemble
a dream. We rush through our days in such stress and intensity,
as if we were here to stay and the serious project of the world
depended on us. We worry and grow anxious - we magnify
trivia until they become important enough to control our lives.
Yet all the time, we have forgotten that we are but temporary
sojourners on the surface of a strange planet spinning slowly
in the infinite night of the cosmos...
[.....]
There is no definitive dividing line between reality and dream.
What we consider real is often precariously dream-like.
Our grip on reality is tenuous...

Prehistoric images speak to us more evocatively than any other element of the archeological record: colorful, vibrant paintings of horses, of bison, of a panoply of animals and humans that often seem alive and in motion. And yet there is a dimension of unreality about them... The images seem plucked from life... often arranged chaotically to our eye, frequently superimposed... sometimes apparently incomplete. ...There is an enigma in these images, a profound challenge to our understanding of the past.

I experience a period of frightening clarity in those moments when nature is so beautiful. I am no longer sure of myself, and the paintings appear as in a dream.

I had innumerable visions at that time [c. 1903]; wherever I looked, Nature was alive, the sky, the clouds, on every stone and among the branches of the trees, everywhere my creatures stirred and lived their still or wild, lively lives, arousing my excitement and crying out to be painted.

I love diversity in Nature. I appreciate the difference in colors on people, animals, and flowers. My walks in Nature stimulate my mind, and make it easier for me to get ideas for my paintings. My imagination helps me to discover hidden images in nature, and I include them on my canvases. Those little ghosts frequently get enhanced as I paint, and they appear and disappear on my paintings.

..on the banks of a very picturesque mountain stream that pours out its crystalline water in four or five waterfalls into the Dussel brook.. .Oh, in this cave, at this crystal flood, I often felt myself so well! Sensations frequently welled up in my bosom at this blessed place that ennoble the soul and make pour out joyful tombs; [they] give the heart impressions that neither greatness or honor can steal from us. An indomitable longing came to me, to learn more and more about these enchanting shades of beautiful and holy nature, and to transfer them on the canvas with my brush.

Nature moves me deeply; I paint nature (now) only in a different way..

For me, painting means the continuation of dreaming by other means.

Nature is inside art as its content, not outside as its model.

You should look at certain walls stained with damp, or at stones of uneven colour. If you have to invent some backgrounds you will be able to see in these the likeness of divine landscapes, adorned with mountains, ruins, rocks, woods, great plains, hills and valleys in great variety; and then again you will see there battles and strange figures in violent action, expressions of faces and clothes and an infinity of things which you will be able to reduce to their complete and proper forms. In such walls the same thing happens as in the sound of bells, in whose stroke you may find every named word which you can imagine.