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Though more organised and numerous than their ancestors at this point, they were still nomads, who periodically lived in caves. Vestiges of huts were found near the coasts and at the mouths of rivers where they dwelt. Burial sites bearing funerary objects were now ubiquitous, suggesting possession of the capacity to think symbolically and a belief in an afterlife. Corpses sprinkled with ochre powder have been found, and sometimes accompanied by traces of flower pollen, a combination which may have been a sign of family or emotional bonds. The existence of sea shells in excavation sites in the Manzanares river basin suggests they travelled long distances and traded objects.
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|titulo= Artistic expression in the Upper Paleolithic
|contenido=
[[File:Enelaboracion.jpg|right|thumb|none|300px|Map: Upper Paleolithic. Human and material remains. Spain.
<span style="color: #b20027; ">14802 [PDF]. [Datos]. </span>]]
There is much debate about whether to attribute the earliest development of artistic expression solely to Homo sapiens based on the fact that its emergence coincided with their existence, and there is also similar debate with respect to the Paleolithic. Since Neanderthals were also present at this time, they may have been responsible for some of these works, and previous works; possible examples include: El Castillo (a red disc and hand figures), Tito Bustillo (some remains), Altamira (a claviform symbol), and cueva de Nerja with seal paintings (from possibly 42,000 years ago).
Nevertheless, the earliest substantiated evidence of sapiens artistic expression, known as the Franco-Cantabrian style, is from the great Nordpeninsular and Nordpyrenean complexes. Works were also found in other areas such as Pileta, Maltravieso and Siega Verde. Animal figures such as bison, horses and fallow deer, and rarely humans, were the protagonists of these paintings. The images, made with continuous lines and usually pigmented with ochre or black from iron oxide or manganese, were created in the backs of caves, perhaps to create a magical effect. They used the irregularities in the stone to give volume to and enhance the naturalism of the images. Very few portable art exist from this prehistoric time such pendants (made from stone, bone, shells, or teeth), weapons (such as harpoons and spears), or objects connoting power (canes from Caballón and Castillo), although the 6,000 engravings on the limestone caves of Cova del Parpalló make up the largest collection of art in Europe from this era.}}
{{ANEAutoria|Autores= María Sánchez Agustí, José Antonio Álvarez Castrillón, Mercedes de la Calle Carracedo, Daniel Galván Desvaux, Joaquín García Andrés, Isidoro González Gallego, Montserrat León Guerrero, Esther López Torres, Carlos Lozano Ruiz, Ignacio Martín Jiménez, Rosendo Martínez Rodríguez, Rafael de Miguel González}}
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The Neolithic slowly unfolds
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