In 1959 he was a signatory to the Antipodean Manifesto, a statement protesting the dominance of abstract expressionism. The Antipodeans were a group of 7 Australian figurative artists which included Charles Blackman, Arthur Boyd, David Boyd, John Brack, Robert Dickerson, John Perceval and Clifton Pugh. Art historian Bernard Smith was an eighth member All except Dickerson were Melbourne-based. In 1960-64 he traveled overseas after winning the Helena Rubenstein Scholarship. Blackman spent quite some time in London and his work was included in the Whitechapel and Tate Gallery exhibitions in London, both of which helped to make the greater world familiar with the existence of contemporary Australian art. In 1965 a tour of northern France and Flanders led to a series of tapestries woven in Portugal, which were shown in Australia in Sydney, Melbourne and Adelaide. In the 1970s his paintings of cats and gardens inspired by Proust’s writings revealed a softening of vision. Selected References 1993 Charles Blackman: Schoolgirls and Angels, catalogue for retrospective at NGV 1989 Shapcott, T., The Art of Charles Blackman, Andre Deutch, London 1983 Amadio,N., Orpheus the Song of Forever, Craftsman Press, Sydney 1982 Amadio, N., Charles BlackmanÕs Paris Dreaming, A.H. & A.W. Reed, Sydney 1980 Amadio, N., Charles Blackman: The Lost Domain, A.H. & A.W. Reed. Sydney 1976 Australian Painters of the 1970s, Mervyn Horton, Ure Smith 1967 Shapcott, T., Focus on Charles Blackman, University of Queensland Press, Brisbane 1965 Mathew, R.,Charles Blackman – Monograph, Georgian House, Melbourne 1965 Alvarez, A The Paintings of Charles Blackman: The Substance of Dreams

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