found the Blake Prize for religious art, and was its inaugural judge. Majorca In 1957, Haefliger's extramarital affair, which had lasted for over a decade, came to an end. Bellette and Haefliger left Australia intending to divorce quietly, but were reconciled. After a year in Paris they settled in Majorca, living first in Deià before buying a house in the hamlet of C'an Baxu. Bellette painted landscapes and still lifes that reflected a Spanish influence, exemplified by Spells for Planting (1964). This work was acquired by the Art Gallery of New South Wales in the year it was exhibited in Melbourne, one of a number of shows in which Bellette participated in Australia through the 1960s. The year she moved to Majorca turned out to be the last year in which she exhibited work outside Australia. The couple visited in 1970 and 1975, and Bellette returned once more in 1983. Bellette had become an "onlooker" to the local art scene. This was in part because of a transition in Australian art that included the rise of abstract expressionism, the strong influence of a small number of gallery owners, and discrimination against women that reached "record levels". Bellette was nevertheless able to secure some exhibitions in Sydney and Melbourne. These infrequent exhibitions were received very positively by critics. When her work was hung at the South Yarra Gallery in 1964, noted art historian and critic Bernard Smith stated in his review for The Age that he "could not recall an exhibition in Melbourne of this quality since I began to write this column." Reviewing her 1966 show in Sydney, the Herald critic considered it was her "ability to combine the calm beauty of form of her beloved classicism of content with a dark romantic spirit that has gained her such an honourable place in Australian painting...the antiquity of nature and man's constructions are explored with a subtle, powerful inquiry." In 1971, Melbourne critic Alan McCulloch considered her classical compositions to be her most successful. Drawing parallels between classical tragedy and contemporary global refugee crises, he noted "there is infinite tenderness in these paintings and infinite sadness. For although these rocky, shadowed landscapes are peopled with the ghosts and shades of an ancient civilisation, they are also curiously symbolic of present day tensions and tragedies." Bellette and Haefliger lived and worked for the rest of their lives in Majorca, with periodic trips