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Lot Essay
The Cycladic sculptors of the 3rd Millennium B.C. are recognised as masters of their craft. Their schematic approach to the human form resulted in an iconic style, in which the female body is represented by its barest essentials. These enigmatic figures undoubtedly held huge significance to their original owners, and were probably only commissioned by individuals of high status. Often discovered in graves, their original use remains speculative, though religious and fertility functions have been repeatedly suggested.
As is characteristic of the Spedos type, the proportions of the present lot are harmonious, with each section of the figure perfectly balanced. It follows a quadripartite design, which demands that the head and neck account for a quarter of the size, the upper torso another quarter, the midsection to the knees a third quarter, and the lower legs the fourth. The preserved ghosts of pigment offer a tantalising view of the original aesthetic of the sculpture. According to P. Getz-Preziosi (Sculptors of the Cyclades, Individual and Tradition in the Third Millennium B.C., Ann Arbor, 1987, p. 53ff), it would have been common practice in this period for the sculptor to embellish figures with red and blue pigment, especially for the eyes, brows and hair, which would have imbued a 'powerful magical meaning'. The use of red was thought to 'symbolize blood and hence the restoration of life beyond the grave'. Lastly, the size of this sculpture is remarkable; when complete, it would have stood at around 52 cm. high.
As is characteristic of the Spedos type, the proportions of the present lot are harmonious, with each section of the figure perfectly balanced. It follows a quadripartite design, which demands that the head and neck account for a quarter of the size, the upper torso another quarter, the midsection to the knees a third quarter, and the lower legs the fourth. The preserved ghosts of pigment offer a tantalising view of the original aesthetic of the sculpture. According to P. Getz-Preziosi (Sculptors of the Cyclades, Individual and Tradition in the Third Millennium B.C., Ann Arbor, 1987, p. 53ff), it would have been common practice in this period for the sculptor to embellish figures with red and blue pigment, especially for the eyes, brows and hair, which would have imbued a 'powerful magical meaning'. The use of red was thought to 'symbolize blood and hence the restoration of life beyond the grave'. Lastly, the size of this sculpture is remarkable; when complete, it would have stood at around 52 cm. high.