are much less well known and have never been grouped together. The author aims to show the significance of antiquity for 20th-century artists, demonstrating how they responded to the observable features of prehistoric Britain and exploited their potential for imaginative re-interpretation. The classic phase of modernist interest in these sites and monuments was the 1930s, but a number of artists working after WWII developed this legacy or were stimulated to explore that landscape in new ways. Indeed, it continues to stimulate responses and the book concludes with an examination of works made within the last few years. An introductory essay looks at the changing artistic approach to British prehistoric remains over the last 250 years, emphasizing the artistic significance of this body of work and examining the very different contexts that brought it into being. The cultural intersections between the prehistoric landscape, its representation by fine artists and the emergence of its most famous sites as familiar locations in public consciousness will also be examined. For example, engraved topographical illustrations from the 18th and 19th centuries and Shell advertising posters from the 20th century will be considered. Artists represented include: JMW Turner, John Constable, Thomas Hearne, William Blake, Samuel Prout, William Geller, Richard Tongue, Thomas Guest, John William Inchbold, George Shepherd, William Andrews Nesfield, Copley Fielding, Yoshijiro (Mokuchu) Urushibara, Alan Sorrell, Edward McKnight Kauffer, Frank Dobson, Paul Nash, Eric Ravilious, John Piper, Henry Moore, Barbara Hepworth, Ithell Colquhoun, Gertrude Hermes, Norman Stevens, Norman Ackroyd, Bill Brandt, Derek Jarman, Richard Long, Joe Tilson, David Inshaw and Jeremy Deller.