The Early Bronze Age collared jars found in the Cyclades, with their distinctive bulbous bodies, high-collared necks, pierced lugs and pedestal feet, are known as ‘Kandila’. They represent the most prevalent Cycladic vessels made before 2700 B.C. and take their name from their resemblance to modern Greek church lamps. They were made from both marble and clay, and in a wide range of sizes. Cords were likely strung through the four pierced lugs evenly spaced around the body, allowing the vessels to be suspended or a lid to be attached. They could also have held liquids, such as oil or wine on a practical level, but may also have symbolised the protective nurturing womb (Getz-Preziosi, 1987: 56).

The production of stone vases was an important and characteristic industry of the Cyclades, and it was only on these islands that white marble was used as a primary material for such vessels. They were carved with blades of obsidian (a naturally occurring volcanic glass) and abrasives such as sand, emery, and pumice, by the same sculptors who carved the canonical marble figures.

The Early Cycladic period is often divided into three cultural groups. The earliest of these is the Grotta–Pelos culture, which is roughly dated to around 3200–2800 B.C. The name refers to the type of sites used by Colin Renfrew to define the culture: Grotta (on the island of Naxos) and Pelos (on Milos). However, the term applies to material from the Cyclades as a whole. There are not always clear boundaries between cultural groups, but each produced objects with enough formal distinction to be placed into separate groups. Cycladic culture is counted among the three main ancient Aegean civilisations, together with the Minoans from Crete and the Mycenaeans on mainland Greece. Surviving Cycladic sculpture possesses an alluringly abstract and minimal aesthetic that inspired the modern British artists in this exhibition, but also European trailblazers such as Constantin Brancusi and Alberto Giacometti.