Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
JUDIT LEBEGYEV - ANDRÁS MÁRTON: Early Cycladic Objects in the Collection of Classical Antiquities
in G. Miiskett, A. Koltsida, and M. Georgiadis (eds.), SOMA 2001. Symposium on Mediterranean Archaeology (BAR-IS 1040), Oxford 2002, 236-237. On paint traces as significant criteria for establishing authenticity, see Gil and Chippindale 1993, 656, n. 405; G. L. Hoffman, "Painted Ladies. Early Cycladic II Mourning Figures? ," American Journal of Archaeology 106 (2002), 528-529. On the paint of figures, see Ch. Zervos, Vart des Cyclades, Paris 1957, 43-44; Getz-Preziosi and Weinberg 1970; Getz-Preziosi 1987, 53-54; Renfrew 1991, 117; Gill and Chippindale 1993, 656; A. Papaefthimiou-Papanthimou, TcXemupyiKoc KaÀACuniapoç am flpoïampiKO Aiyaio, OcaaaXoviKn 1997, 66-75; Hoffman 2002; E. A. Hendrix, "Painted Early Cycladic Figures. An Exploration of Context and Meaning," Hesperia 72 (2003) 405-446; E. Hendrix, "Some Methods for Revealing Paint on Early Cycladic Figures," in K. Polinger Foster and R. Laffineur (eds.), METRON. Measuring the Aegean Bronze Age. Proceedings of the 9th International Aegean Conference, New Haven, Yale University, 18-21 April 2002, Liège 2003, 139-145 (= Hendrix 2003a); Birtacha 2003; P. Sotirakopoulou, The "Keros Hoard", Myth or Reality?, Athens 2005, 66-67. The most widespread application of paint can be seen on Spedos figures. On Early Cycladic I and Dokathismata figures, paint is more sporadic: P. Sotirakopoulou, "The Early Bronze Age Stone Figurines from Akrotiri on Thera and their Significance for the Early Cycladic Settlement," Annual of the British School at Athens 93 (1998), 146; Birtacha 2003, 269-270. On the painting of ancient marbles, see also V. von Graeve and F. Preußer, "Zur Technik griechischer Malerei auf Marmor," Jahrbuch des Deutschen Archäologischen Instituts 96 (1981), 120-156; V. Brinkmann, Die Polychromie der archaischen und frühklassischen Skulptur, Munich 2003; V. Brinkmann and R. Wünsche (Hrsg.), Bunte Götter. Die Farbigkeit antiker Skulptur, Munich 2004. Getz-Preziosi and Weinberg 1970; P. Getz-Preziosi, Early Cycladic Art in North American Collections, Virginia Museum of Fine Arts, Richmond 1987, 72; Renfrew 1991, 117; E. Hendrix, "Painted Ladies of the Early Bronze Age," The Metropolitan Museum of Art Bulletin 1997/98, 9; Hendrix 2003, 415, n. 35; Hendrix 2003a, 141. Hendrix 2003a, 140. Hendrix 1997/98, 8, 10; Hendrix 2003, 428-429; Hendrix 2003a, 141; Birtacha 2003, n. 8, 264. Furthermore, V. Brinkmann, "Farben und Maltechnik," in V. Brinkmann and R. Wünsche 2004, 239. I lendrix 1997/98, 10; Hendrix 2003, 429; Hendrix 2003a, 140. On one occasion, E. A. Hendrix identified green colour on one figure; it is possible that azurite turned into green malachite after contact with water, Hendrix 2003, 429. On malachite, see Brinkmann 2004, 239, 241, pis. 399-400. Powdered azurite was placed in graves too: Getz-Preziosi 1987, 54; Hendrix 2003, 429. Hendrix 2003, 416. Yellow can also be produced from ochre: V. Brinkmann, "Mädchen oder Göttin? Das Rätsel der 'Peploskore' von der Athener Akropolis," in V. Brinkmann and R. Wünsche 2004, 58.
