The question refers to the sculptures bridging the gap between the archaic and classical periods. The key to this question is to bring in examples of both male and female free-standing sculpture fitting the description in the question, and explain carefully their developments and why they are important. Examples could be the New York kouros, the Berlin kore, the Anavyssos kouros, the Peplos kore, the Tyrannicides and the Kritian Boy. A 'how important' question is quite vague so it would be important to outline what that actually means. In this case, it is important because developments in sculpture from 600 to 480 BC become more and more naturalistic and realistic before the so-called 'turning point' of 480 BC. The answer to the question should identify this, then describe and outline the developments in detail. (e.g. One example of a development is the increased realism in poses. This can be seen in the Kritian boy statue with the introduction of the 'contrapposto' position. The weight is on one leg and the other leg is relaxed. One shoulder is therefore slightly lower and the whole body is balanced and counter-posed. This moves away from the rigid stances of the New York kouros and the Peplos kore. etc.) Then it would be good to explain their importance in the progress and development of Greek sculpture. The question has also given specific dates so it would be good to explain that 480 BC is when sculpture changed and where the classical style began. This was due in part to the influence of the Persian wars and the destruction of the Acropolis. This kind of extra knowledge surrounding the question shows the examiner that you really understand the period, the sculpture and the historical influences. The essay should be finished with a strong conclusion which rounds off the argument and which refers back to, and answers the question. e.g In conclusion, the developments in free-standing Greek sculpture from 600 to 480 BC were vital for the increase in realism which leads into the classical period and which conforms to the Greek ideal of 'kalos kagathos'.
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