Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
JUDIT LEBEGYEV - ANDRÁS MÁRTON: Early Cycladic Objects in the Collection of Classical Antiquities
The painted decoration of the figure has not been described yet. On the forehead, one can easily see with the naked eye a painted band that is lighter than its surroundings, (fig. 22). Of the two almond-shaped eyes, the right can be seen even by the naked eye, while the left is visible only in UV-light. (figs. 22-23). The left side of the face preserves red diagonal lines, some of which continue on the nose. (fig. 22). The neck and the inner parts of the shoulders are covered with red paint that can be discerned only in UV-light. (figs. 23-24). The yellowish-red discolouration covering the surface of the body is missing in a regular triangular area in the middle of the back. (fig. 24). Light areas are also visible on the shoulderblades, which may perhaps also be traces of paint. The discoloured areas do not separate at the surface of the marble. The figure has been attributed by P. Getz-Gentle to the Ashmolean Master. 19 She has classified seven figures as the œuvre of the master. 20 Of the pieces attributed to the Ashmolean Master, this is the only painted figure. Its best analogy is the piece in the Syros Archaeological Museum, which was attributed by P. Getz-Gentle and M. Marthari to the Ashmolean Master independently of each other. 21 The two pieces are very similar, and they are closely related to each other. Concerning the genuineness of the figures, all three pieces got into the collection at the beginning of the twenthieth century, long before the period starting with the 1960s, when making forgeries of Cycladic marbles became widespread.- The authenticity of the early Spedos and Dokathismata figures is verified beyond doubt by their patina and painted patterns; in the case of the Late Spedos/Dokathismata figure, the patina of the marble was removed with acid.-' 22 DOKATHISMATA FIGURINE ( DETAIL) BUDAPEST. MUSEUM OF FIN F ARTS THE PAINT OF THE FIGURES 24 On marble figures, two types of paint traces may be distinguished. In the first case, the remains of the original pigment are visible. In the second case, the paint had usually been completely worn off, but could still be identified from differences in the wear and the discolouration of the surface ("ghost paint"). 2 "' The distinction between the two types fundamentally results
