Who painted "Adam and Eve," Monoliths, Avebury?

"Adam and Eve," Monoliths, Avebury was painted by Lines in 1942.

Where can I see "Adam and Eve," Monoliths, Avebury?

"Adam and Eve," Monoliths, Avebury is held by Victoria and Albert Museum.

What movement is "Adam and Eve," Monoliths, Avebury?

"Adam and Eve," Monoliths, Avebury is associated with Art Brut.

Artwork

"Adam and Eve," Monoliths, Avebury

Lines , 1942

"Adam and Eve," Monoliths, Avebury is a watercolor work on paper by the Art Brut artist Lines. It dates from 1942 and is held in the collection of the Victoria and Albert Museum. The watercolor portrays the monolithic pair known locally as Adam and Eve at the prehistoric Avebury complex.

About this work

Overview

The watercolor portrays the monolithic pair known locally as Adam and Eve at the prehistoric Avebury complex. Rendered in muted grays and browns, the slender stones rise from a grassy field, framed by a modest white cottage with a red roof and a few chickens wandering nearby. A cloudy sky completes the tranquil, rural atmosphere.

Subject & Meaning

The composition records two of Avebury’s standing stones, symbols of England’s ancient heritage that have long been linked to mythic narratives. By placing the stones alongside a contemporary farmhouse, the image juxtaposes deep antiquity with everyday rural life, suggesting continuity between the landscape’s distant past and present habitation.

Technique & Style

Executed in watercolor, the artist employs a restrained palette and soft washes to convey the weathered texture of the stones and the overcast sky. Delicate brushwork defines the thin silhouettes of the monoliths, while broader strokes suggest the surrounding grass and the modest architecture, creating a balanced, atmospheric effect.

History & Provenance

Created during the Second World War, the work formed part of the Recording Britain project, a government‑sponsored effort to document vulnerable historic and rural sites. The initiative enlisted nearly a hundred artists to produce over 1,500 pieces, aiming to preserve visual records of the nation’s cultural landscape amid wartime threats and rapid change.

Context

The painting reflects the wartime concern that England’s historic monuments could be lost to bombings or modernization. By capturing the stones and their pastoral setting, the artwork contributes to a broader narrative of national identity rooted in the countryside and its ancient landmarks.