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Notes

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Paul Nash was recuperating from a nasty bout of bronchitis in the summer of 1933 when he first came across the Avebury megaliths, the largest prehistoric stone circle in Europe. He recalled, 'Some were half covered by the grass, others stood up in cornfields were entangled and overgrown in the copses, some were buried under the turf. But they were wonderful and disquieting, and, as I saw them then, I shall always remember them.' Appropriately, and as was often the case, Nash painted 'Landscape of the Megaliths' from memory (convalescence had taken him to the Riviera); the stones are a nexus for the entanglement of the past in present-day landscape. This is a quietly 'disquieting' image. Andrew Causey has criticised it as 'not so much abstract as empty', yet the idea of emptiness is crucial.