After buying the etching below and looking up the artist and location, it struck me how the uncovering and preservation of British ancient monuments in the twentieth century, together with the age of motoring bought artists to translate these places into art.
John G Rigsby – Cerne Giant
Cerne Abbas is a parish just about eight miles north from Dorchester, in Dorset, England, where, as in the etching above, a human figure has been cut into the chalk hillside. The figure, generally referred to as a giant, is the outline of an ithyphallic man carrying a club in his right hand. At about 55 metres high and 51 metres wide it dominates the valley below. Above the Giant is another landmark, the Iron Age earthwork known as the “Trendle” or “Frying Pan”. The carvings are formed by outlines cut into the turf about 2ft deep, and filled with crushed chalk. The construction of the Wilmington Giant is much the same.
Eric Ravilious – Wilmington Giant, 1939.
“The Long Man of Wilmington and the very phallic Cerne Abbas Giant are of unknown age and controversy still rages over the date of the latter in particular”. †
The Ravilious painting is a watercolour using white resist makes the Giant Glow out from the paper’s natural colour, as do his cross-hatched, almost engraver brush-strokes of differing tones of colour.
Gertrude Hermes – Stonehenge, 1959.
Henry Moore – Stonehenge, 1973
Above two sculptors draw and engrave their perception of Stonehenge. Archaeologists believe Stonehenge was constructed from 3000 BC to 2000 BC. The surrounding circular earth bank and ditch, which constitute the earliest phase of the monument, have been dated to about 3100 BC. Unlike the chalk men, there have been writings of Stonehenge from most of recorded time. The earliest record of the chalk giants is from the 17th century.
Moore on Stonehenge: I began the Stonehenge series with etching in mind, but as I looked at, and drew, and thought about Stonehenge, I found that what interested me most was not its history, nor its original purpose – whether chronological or religious – or even its architectural arrangement, but its present-day appearance. I was above all excited by the monumental power and stoniness of the massive man-worked blocks and by the effect of time on them. Some 4000 years of weathering has produced an extraordinary variety of interesting textures. ‡
John Piper – Avebury, 1944
Paul Nash – Landscape of the Megaliths, 1937
Above are both the avenue and the stone circle of Avebury painted in different styles by both Nash and Piper. John Piper’s image was for a book on Romantic British Poetry and he is making use of limited use of colours in the printing process of the book to make the dark-to-light drama washed with umbers. Nash’s lithograph is one of his less surreal of this working time period, unlike the image below where Nash project’s his own vision for modern monoliths. They maybe hay-bails or car grills but these are, to Nash, the monoliths of today.
Paul Nash – Equivalents for the Megaliths, 1935.
With Nash it’s best to use his own words about why he came to paint ‘Equivalents for the Megaliths’
These groups (at Avebury) are impressive as forms opposed to their
surroundings both by virtue of their actual composition of lines and masses and planes, directions and volumes; and in the irrational sense, their suggestion of a super-reality. They are dramatic also, however, as symbols of their antiquity, as hallowed remnants of an almost unknown civilisation.
In designing the picture, I wished to avoid the very powerful influence of the antiquarian suggestion, and to insist only upon the dramatic qualities of a composition of shapes equivalent to the prone or upright stones simply as upright or prone, or leaning masses, grouped together in a scene of open fields and hills. – Paul Nash – Letter to Lance Sieveking. May 1937.
† The Cambridge Illustrated History of Prehistoric Art. p116 9780521454735
Paul Nash Places. 9781853320460
‡ Henry Moore. Writings and Conversations. p299 978-0520231610