The landscape painter and augmenter, Paul Nash, had a momentary, glimpsed relationship with the Wiltshire town of Avebury.  The landscape, which brims with a sense of ancientness and magic, evidently enraptured the painter for a brief spell of creative yield not simply in painting but in photography as a sideline as well.  Caught in the trace images and memories of its Neolithic stone circles, its village’s self-containment, and the feeling of being surrounded by many other ancient burial forms, Nash channeled these elements in the most dialectic of fashions; an old world reaching out for a fresh conversation.  This is uncannily present in a handful of his paintings, including some of his most respected abstract landscape work but, since Tate uploaded scans of his negative black and white photography onto their website over recent years, the effect of the place upon the artist seems to have manifested most viscerally and…