Cycladic Marble Idol attributed to the Schuster Sculptor

The present figure has been attributed to the Schuster Sculptor (after the name-piece formerly in the collection of Mme Marion Schuster). P. Getz-Preziosi noted that the characteristic features of this style are close to the Spedos and partly to the Dokathismata variety, which was recently re-defined as the Akrotiri sub-variety (after the find at Akrotiri on Thera). This style is considered to be the strongest in the sense of geometric forms: very elongated in shape and consisting of well-defined parts. Indeed, the sloping shoulders have a distinguished angular shape; narrow arms folded almost parallelly above the abdomen, with the elbows which stand out of the body; a large, deeply incised, pubic triangle bisected at its apex by the leg cleft. As P. Getz-Preziosi observed, “this is the only known figure attributable to the Schuster Sculptor that does not, at least in its present worn state, have an incised spine”. There is also in the modeling a noticeable interplay of curving and angular contours; flat and rounded shapes, especially visible when the figure is seen in profile. Some of the figures were represented in an apparently pregnant state.

The unique characteristics of this marble sculpture make it a remarkable example of Cycladic sculpture. The study of it designates specific types in the representation of a nude human figure, in most of cases female, which appears standing in a contemporary display, and recognizes a few varieties of the Canonical type (a folded-arm figure): the Kapsala, Early Spedos, Late Spedos, Dokathismata, and Chalandriani (called after the geographical locations in the Cyclades). Their size varies greatly from about 10 cm to 150 cm. Personal styles have been also recognized among the works of individual sculptors (assigned after a piece in a collection).

It is possible that the Cycladic figurines might have some religious/cultic function and could be considered as gods and goddesses. Other theories represent them as companions or servants of the dead, or even toys. None of the theories could be confirmed as documental. The archaeological evidence does not present any clue of how such figures were employed in the domestic or cultic context, if there was any kind of a base or support employed to keep them in the upright position. If placed vertically, they would be leaning against the wall as no figure could stand on its toes. If truly designed as reclining (and found mainly inside the graves), the flat figures have the protruding parts on the back side (hills, buttocks, and most prominently carved the edge of the head) to be connected with the surface.

Missing is the head; broken parts of the right foot and right shoulder restored; broken and reassembled above ankles and above knees; surface overall weathered and eroded; chips at shoulders.

Christie’s, New York, 10 June 1994, lot 106; ex- US private collection, Illinois.

GETZ-GENTLE P. et al., Personal Styles in Early Cycladic Sculpture, Madison, 2001, pp. 98, 168, no. 14, p. 1 77, pl. 80 fig. b, pl. 81 figs. b1 & b2.

The Salon Art + Design Show, Park Avenue Armory, NY, November 2022, no. 20

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