Charles Blackman, Australia b.1928 / Buderim Mt Sketchbook: Civilisation versus Eden 1984 / Full (faux) black leather sketchbook with gilt borders and red endpapers / 1 v.; ill. (some col.) / Gift of the Josephine Ulrich and Win Schubert Foundation for the Arts through the Queensland Art Gallery Foundation 2013. Donated through the Australian Government’s Cultural Gifts Program. Collection: QAGOMA Research Library / © Charles Raymond Blackman 1984. Licensed by Viscopy, Sydney 2015

Charles Blackman, Australia b.1928 / Buderim Mt Sketchbook: Civilisation versus Eden 1984 / Full (faux) black leather sketchbook with gilt borders and red endpapers / 1 v.; ill. (some col.) / Gift of the Josephine Ulrich and Win Schubert Foundation for the Arts through the Queensland Art Gallery Foundation 2013. Donated through the Australian Government’s Cultural Gifts Program. Collection: QAGOMA Research Library / © Charles Raymond Blackman 1984. Licensed by Viscopy, Sydney 2015 / View full image

Sketchbooks have long been used by artists to jot down ideas, contemplate on particular moments and note creative reflections. They are a personal record of inspirational imagery that may later be referred to when developing ideas and composition for other works.

Charles Blackman’s Buderim Mt Sketchbook: Civilization versus Eden, dated 1984, affords us a behind-the-scenes glimpse of the artist’s musings and some of the magic found in his rainforest series.

FLIPBOOK Buderim Mt Sketchbook: Civilization versus Eden

Blackman created this sketchbook while he was living in Mt Buderim in the 1980s. Introduced to the area by his good friend James Birrell, an architect who lived near the Maroochy River, the artist moved to Buderim to escape the Sydney winters. Behind his home, he discovered a small waterfall; and so began his fascination with them, and with the rainforest.

Described as a romantic, Blackman marries the gothic architecture of French cathedrals with the grandeur of the rainforest, creating ‘living museums’ in his sketches and watercolours. A highlight of the sketchbook is ‘The engulfed Cathedral’ (1984), which references Claude Debussy’s La cathédrale engloutie of 1910. It is a beautiful, lyrical ink drawing of a cathedral washed in a sea of blues.

Several of the drawings in this sketchbook were reproduced in the book The Rainforest (Macmillan, 1988) to accompany texts by Blackman and poet Al Alvarez. The sketchbook also features poems by the artist, and a schematic flowchart linking words with the natural world.

Jacklyn Young is Librarian (Collections) Research Library, QAGOMA

QAGOMA Research Library

The QAGOMA Research Library is located on Level 3 of the Gallery of Modern Art (GOMA). Open to the public Tuesday to Friday 10.00am to 5.00pm. visit us in person or explore the online catalogue. Access to special collections is available by appointment.

Buderim Mt Sketchbook: Civilization versus Eden is held in the QAGOMA Research Library collection.

Related Stories

  • Read

    Charles Blackman and Brisbane’s young artists and writers

    Charles Blackman while in Brisbane in early 1948 met the young artists of the Miya Studio, including Laurence Hope, Don Savage, and Laurence Collinson, and the closely affiliated group of Barjai writers, including Barrett Reid. DELVE DEEPER: KNOW BRISBANE through the QAGOMA Collection SIGN UP NOW: SUBSCRIBE TO QAGOMA BLOG for the next Queensland Story Barrett (known as Barrie) Reid (1926–95), librarian, poet and editor, had an important early connection with Queensland through Barjai magazine. Reid met the Melbourne art patrons John and Sunday Reed in 1942, and later Sidney Nolan, when they visited Brisbane. John Reed and Max Harris were the joint editors of the most radical literary journal of the time, Angry Penguins, and Reid became its youngest contributor. Reid and Barjai artist, Laurence Hope hitchhiked to Melbourne in 1946 to visit the Reeds and cemented a lifelong friendship in doing so. Through his friendship with Barrett Reid, Blackman met the Reeds at Heide and, through them, saw Nolan’s early St Kilda works. With fellow students Barrett Reid and Cecel Knopke, Laurence Collinson established the Senior Tabloid of Brisbane State High School in 1943. In 1944, this student literary journal transitioned to the national, bi-monthly magazine Barjai, surviving until 1949. Collinson’s interests were artistic as well as literary, prompting the formation of the Miya Studio, which held its first exhibition (opened by critic Gertrude Langer) in the basement of the School of Arts in Stanley Street, South Brisbane, in December 1945. Know Brisbane through the QAGOMA Collection / Delve into our Queensland Stories / Read more about Australian Art / Subscribe to QAGOMA YouTube to go behind-the-scenes #CharlesBlackman #QAGOMA
  • Read

    The lure of Brisbane’s sun on Charles Blackman

    Over several years spent in Queensland, Charles Blackman was nurtured by a series of relationships and profound connections to place, and these inspired some of his most innovative and important works. During his first visit to Brisbane in 1948 Blackman experienced a period of intense personal discovery essential to the launch his career; he found love and a means of artistic expression through a potent and highly individual visual language emanating from his psyche and focused on his inner world. DELVE DEEPER: KNOW BRISBANE through the QAGOMA Collection SIGN UP NOW: SUBSCRIBE TO QAGOMA BLOG for the next Queensland Story Charles Blackman is central to our understanding of the development of modern art in Australia. He gained immeasurably from his time in Queensland, consolidating as it did his artistic vision through the influence of fellow artists, writers and influential friends. Blackman himself elaborated on the lure of the sun in an interview conducted in London in 1965: I think that Queensland probably had the best influence on me as a person, its sunshine and its lightness and its colour and its friendly spirit probably helped me to flower as a personality in some way. Laurence Hope worked in Queensland from 1944 to 1952 and brought with him (from Melbourne) a modern vision in contrast to the conventional approach predominating local art societies. The links between Laurence Hope and Laurence Collinson, and their innovation in Melbourne, were particularly important to the Miya Studio group, which became the centre of expressionist art practice in Brisbane. Themes of love, loss and loneliness explored in Hope’s work were important influences on the young Blackman. It has been noted that there was a great similarity between Hope’s works’ moody, introspective quality and rough brushwork, and the drawings of the contemporary Melbourne artist Joy Hester, who was also close to the Blackmans. The sketch Tired girl 1950 is painted on the back of a letter from Barrie (later Barrett) Reid, Hope’s Miya Studio and Barjai journal associate. As a painter of ‘internal things’, Hope’s expressive and often darkly isolated figures, as seen in Sketch of Mo (Roy Rene) 1947 and in Tired girl, were important influences on Blackman’s understanding of human character and helped him develop his own powerful imagery. Blackman recognised this influence: [Hope’s] pictures impressed me, they were real live art . . . He taught me that you can actually draw your own images, you don’t have to use other people’s images. An image is something that you can make yourself . . . My own work became more personal. Know Brisbane through the QAGOMA Collection / Delve into our Queensland Stories / Read more about Australian Art / Subscribe to QAGOMA YouTube to go behind-the-scenes #CharlesBlackman #QAGOMA