The Polyimagical Realm I must note that as primarily a painter at the time of composing this work (1986) I was also painting "angels." They were in figure what I have called personatypes and simulated, imitated realities, yet arch and beyond typification (typos) in content. This ambiguity is in fact the subject of this book. The simultaneity of image and immanence is not a problem, except we have no credible concept for simultaneity, or complementarity, and by which ambivalence prevails as the earmark of reality. Now, in the year 2004 it is the least I can say for showing the differences that only analytically repose in mutually exclusive camps, that of C.G. Jung's rigorous and extensive amplification of Freud's Psychoanalytic and the new Post Modern wave of James Hillman's Archetypal Psychology and its polytheistic trimmings. In that case the many gods earn a capital "G" and in contention with the One God. But speaking as both a painter and a poet I can only fall back on an experiential standpoint, something reminded by Plato 2500 years ago in his Ion dialogue: "and therefore God takes away the minds of poets, and uses them as his ministers, as he also uses diviners and holy prophets, in order that we who hear them may know that they speak not of themselves who utter these priceless words in a state of unconsciousness, but that God is the speaker, and that through them he is conversing with us." Bernard X. Bovasso Spring, 2005

Published to accompany an exhibition at Salisbury Museum and Art Gallery, this volume explores the most significant works of art engaged with prehistoric moments across Britain from the 18th century to the 21st. While some of the works in the earlier period may be familiar to readers - especially Turner and Constable's famous watercolours of Stonehenge - the varied responses to British Antiquity since 1900 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.