WHO MADE IT? DNA ANALYSIS FROM CAVE PAINTINGS:

Location of test sample from Escoural Cave, Portugal. Image from Mesa et al., 2026, Figure 2, page 3 (image sharpened with chatGPT). This sample held the human DNA.

Back on 17 August 2024, I wrote a column here on RockArtBlog titled ‘DNA Analysis From Cave Paintings,’ in which I expanded upon the recent news that DNA had been discovered in the sediments of anciently inhabited caves. At that time I wrote “for some time now it has been possible for scientists to extract DNA from the sediments in caves, including human and hominin DNA. This leads me to speculate that perhaps we may also be able to detect DNA from manually applied cave paintings such as positive handprints and get an analysis of the artists themselves. Considering that the human body sheds cells constantly it would seem logical that any paint on a cave wall that was applied by hand might contain detectable DNA in human skin cells shed during the application of that paint. And with the advances in DNA analysis this might be a way to personal data such as skin color, eye color, gender, and other data that would allow us to generate a detailed picture of the artist.” (Faris 2024) This speculation seems completely logical to me. Never  bet against scientific advance.

Location of test sample from Covaron Cave, Spain. Image from Mesa et al., 2026, Figure 2, page 3 (image sharpened with chatGPT).

Now we have a report of a study that attempted to do just that – find DNA in the cave art. The team tested 24 rock art panels and located human DNA in a sample from one panel, admittedly only a partial success, but a step in the right direction. “With ancient human DNA obtained from only one of 24 rock art panels sampled, despite generally favorable preservation conditions at many rock art sites, our findings suggest that pigmented surfaces themselves rarely retain enough DNA to remain detectable after thousands of years. The absence of ancient DNA in the Altamira airbrush further supports this notion.We also detected no faunal or other non-human DNA that could be clearly linked to the use of organic binders. Nevertheless, given the diversity of rock art techniques and contexts, it remains possible that rock art from other sites, periods, or styles could more consistently yield ancient DNA. For example, it would be desirable to test DNA preservation in additional samples from figurative rock art, or in hand stencils from sites with better DNA preservation than Maltravieso. As demonstrated here, systematic sampling of both the artwork and adjacent surfaces, along with sensitive methods for faunal DNA detection, should be incorporated into future research to help distinguish DNA related to art production from that introduced by other processes. It should also be investigated whether DNA extraction protocols can be improved specifically for cave wall surfaces.” (Mesa et al. 2026:7) This is really just the beginning of the process.

Location of test sample from Les Pedroses Cave, Spain. Image from Mesa et al., 2026, Figure 2, page 3 (image sharpened with chatGPT).

When you remember how many scientific advances begin as failures – how many tests did Edison have to make before he found a usable light bulb filament? “Despite favorable conditions for ancient DNA preservation at many sites, ancient DNA was detected in only one of the 24 rock art panels examined, and two additional locations adjacent fo other rock art panels. This rarity suggests that pigment surfaces rarely retain enough DNA to survive for thousands of years, particularly if they are not protected by mineral crusts or sealed environments. ‘The preservation of human KNA on cave walls is highly variable’, says Bossoms Mesa. ‘But when it does survive, it tells a powerful story. And while these first results are promising, I think our priority now should be to refine the methods and to understand under what conditions we can expect a higher success rate’.” (Max-Planck-Gesellshaft) And, as these conditions are learned future studies can focus on sites with a higher chance of success.

Location of test sample from the wall of Blombos Cave, South Africa. Image from Mesa et al., 2026, Figure 2, page 3.

Matthias Meyer, a member of the team that did this study, expresses optimism about the potential of such a project. “’This is just the beginning’, adds Meyer. ‘We now know that cave walls are genetic archlves of past human presence. The next step is to test more sites, art styles and techniques, especially hand stencils and figurative art in caves with good molecular preservation, as far as minimally invasive sampling allows’. With further work, it may become possible to reveal the makers of at least some pieces of cave art – and to put faces, or at least genetic identities, to the artists who created them.” (Max-Planck-Gesellschaft) As the ability to detect and analyze DNA improves we can expect result to get better as well.

Heretofore DNA studies and analysis seem to have developed following to Moore’s law. Originally postulated in regards to integrated circuits, Moore’s law stated that the number of transistors in an integrated circuit doubles every two years. Admittedly it is a stretch to apply that to DNA studies in rock art, but look at the development of DNA analysis in the short time since its beginnings. This may not be too far from the truth. And, I would still like to know the color of the eyes of the artist who painted Lascaux, and I think it is coming.

REFERENCES:

Faris, Peter, 2024, DNA Analysis From Cave Paintings, RockArtBlog, 17 August 2024, https://www.blogger.com/blog/post/edit/7760124847746733855/4193206136611181049

Mesa, Alba Bossoms et al., 2026, Investigating ancient human DNA preservation on cave walls and in rock art, Nature Communications (online), 23 June 2026, pp. 1-12, https://doi.org/10.1038/s41467-026-74234-2. Accessed online 5 July 2026.

Max-Planck-Gesellschaft (online), 2026, Ancient DNA Found on Cave Walls, 24 June 2026, https://www.mpg.de/26841305/ancient-dna-found-on-cave-walls. Accessed online 5 July 2026.