By Arthur C.Danto
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Extra resources for Artworks and Real Things
7B–10) Following the Plastiras and violin figures, or coeval with the later ones, are a number of variations on these types that are simpler than the former and more complex than the latter. To my knowledge, no hybrid images have been found in the course of systematic excavation. Typologically, they seem experimental, in the sense that they incorporate elements of both the schematic and the naturalistic approaches to the human form, which usually tended to be discrete but chronologically parallel (fig.
In my opinion, however, these works are most important because it is through them that the folded-arm figure evolved from the archaic Plastiras image. This is not a residual category but a vibrant and innovative catalyst leading to the Cycladic sculptors’ finest achievements. At present, approximately the same number of these precursor figures and of Plastiras images are known to me. They are scattered far and wide and for the most part are either not published at all or not accessibly published; they have rarely been illustrated in more than a front view.
7c, e) or tall and straight-sided (pl. 7d, f, g). One may note, too, that the head/neck prong of the violin figure is straight across the top rather than rounded or pointed. Seen on many violin images, this may be a schematic reflection of the straight-topped polos clearly indicated on the figure in plate 5a and on a number of other female Plastiras figures. One of the most arresting and beautifully worked Plastiras figures to come to light is a relatively large piece carved, atypically, in light gray marble (pls.
Artworks and Real Things by Arthur C.Danto