The objects of this study are Cycladic figurative sculpture and elements of twentieth century minimalism, notably the devices of reduction and essence. The reduction of a concept, or the formal aspects of it, to the absolute minimum possible, is a relational function used to express the essence, the core of that which is vital within the concept. It is my intention to show how these elements of minimalism may correspond with Cycladic figurative sculpture. The relationship connecting these aspects of minimalism to the aesthetic and formal agents of Cycladic figurative sculpture, is the focus of this research paper.
Described as curiosities, the first Cycladic artefacts excavated at the beginning of the nineteenth century were considered primitive and crude because they were not a naturalistic representation of the physical world. However, since these first discoveries, the way in which the Cycladic sculptors represented the human form has become of increasing interest1. Many scholars have endeavoured to piece together the meaning and purpose of this culture and its art. Yet the interpretation of Cycladic figurative sculpture becomes increasingly tantalising to the researcher in the absence of a surviving contemporary written record. Consequently, we are unable to glean any more information from this culture other than that which is presented to us in the form of the artefacts themselves.
The wealth of academic endeavour directed at establishing the history, provenance and purpose of Cycladic artefacts continues to embed them in a pre-historic context. While these aspects are intriguing and valuable, with the possible exception of Renfrew 2, no commentator has used the tools of contemporary art analysis as a means of interpreting Cycladic works. It is my intention to suggest an alternative means of considering Cycladic art. This alternative is one that is less concerned with questions of why the objects were made or how they were used, and instead, focuses on their formal and aesthetic attributes. Such an approach requires Cycladic art to be relocated from the historical context in which it has been established, drawing it into a contemporary analytical frame and interpreting it from a contemporary perspective. Indeed, the potential for a contemporary interpretation has been expressed by Dolly Goulandris (quoted from Doumas 1984, p. 7).
‘The purity of line, the simplicity of form, which are fundamental characteristics of Cycladic sculpture and equally of Cycladic pottery, still fascinate by their modernity all those who have the privilege of finding themselves in contact with this distant yet eternally present art’.
In the late twentieth century, we have many resources and diverse influences that form the character of our society and culture. By contrast, the period during which the Cycladic culture flourished and its island geography meant that it developed as a quite isolated and unique society. As Doumas states
‘...early Cycladic culture was not transplanted to the islands from elsewhere but constitutes the natural evolution of the local Late Neolithic’ (Doumas, C. quoted in Renfrew (1991), p. 27).
It appears that records of Cycladic cultural practices were unwritten, passed down through the generations by word of mouth and visual evidence. This may also be a factor in the development of the unique and minimal form of Cycladic sculpture that spanned more than a millennium. A distinct relationship between the formal attributes of these artefacts is shown through the chronology of the Cycladic period (see figure 1,). An outline of the chronological development from the late Neolithic through to the early Bronze Age demonstrates how these ancient sculptures evolved.
There has been much speculation on the Cycladic culture and its art. The theories that have been formulated are founded without the advantage of any written documentary evidence from the period (Rutter, J. et al. 1997).Most of the study of the Cycladic era has been from an anthropological position and little ethnographic research has been carried out to date. However, as my research is directed at developing a contemporary interpretation of these artefacts, the anthropological, ethnographic and contextual3 parallels are outside its focus.
In looking at Cycladic figurative sculptures, there appears to be an underlying canonical structure. Getz-Preziosi has identified the development of a recurring proportion and position. This has been termed, the ‘Cycladic canon’. The canonical figure refers to the majority of the figures from the EC II period. They are generally recognisable by particular features such as the arms, folded across the stomach with the left arm over the right. They stand with legs slightly bent at the knees and the feet pointing downward. It is important to mention the Cycladic canon in this paper as it is relevant to the artefacts being discussed. However, it is a somewhat complex and extensive subject well suited to further dedicated study. I have included a brief discussion on its relevance to modern art practices, in a section on areas for further study.
The frontal schematic characteristic, generally present in the monographic reproductions, hides the elusive slim profile of the Cycladic figures. The two examples in Sydney have been valuable in providing evidence of a narrowness in their side profile that is not so clearly defined in reproductions. The distinctive three-dimensional aspect of these forms is evident only when moving around the figures and viewing them from various angles. This provides the opportunity to see the illusional effects of the slim profile.
The following chapter starts with an outline and description of Cycladic figurative sculpture and its lineage. This will set the groundwork for a more detailed discussion of the artefacts, the style of particular periods and their relation to minimalism. The chapter titled minimalism outlines and defines the aspects of minimalism which are relevant to this paper. I then discuss the work and philosophies of influential artists who worked within the domain of minimalism during the twentieth century. In the next chapter, the relationships I am proposing between Cycladic figurative sculpture and twentieth century minimalism are discussed demonstrating the outcomes of my research and the conclusions drawn. continue on to 'cycladic figurative sculpture'...