Beatrix Potter Artist, Storyteller and Countrywoman

Beatrix Potter Artist, Storyteller and Countrywoman

Judy Taylor

Language: English

Pages: 224


Format: PDF / Kindle (mobi) / ePub

Starting with the publication of The Tale of Peter Rabbit in 1902, Beatrix Potter went on to become one of the world's most successful children's authors. This illustrated biographical eBook takes the reader through the whole of her life, from her Victorian childhood in London to her final years farming in the Lake District. Regarded as a standard work on Beatrix Potter's life, this work has been updated regularly to include fresh material and previously unpublished photographs that have come to light as interest in Beatrix Potter continues to grow.

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Dunkeld, on 4 September 1893, Beatrix sent this picture letter to Noel Moore about a rabbit called Peter. This was also time when Beatrix was drawing guinea-pigs. Through buying her hats from the same milliner in Sloane Square as the ladies who lived round the corner in Bolton Gardens, Beatrix had discovered to her surprise and delight that there were guinea-pigs at No. 28. The hats were always delivered to Bolton Gardens by two young children of the milliner, Ivy and Jack Hunt, whose mother was

especially to those that get upon my garden wall’. Beatrix had a disagreement with Harold Warne about part of the text when he criticised the line ‘all the rest of Tom’s clothes came off’. He suggested that she should change it to ‘nearly all’ instead, presumably worried that some people might be offended. Beatrix was irritated. ‘ “Nearly all” won’t do! because I have drawn Thomas already with nothing! That would not signify; I could gum something over but there are not many garments for Mr Drake

On the other hand, Mr McKay was very persuasive of The Fairy Caravan in America. ‘Sometimes I feel I don’t want to print the stories at all, just keep them for the private edification of Henry P. and me. I guess we will keep some of them private and unprinted; they are more and more peculiar; I wonder what makes me spin such funny spider webs.’ Beatrix was worried about how she would be able to manage the illustrations. ‘My eyes have lost the faculty of seeing clean colours … I have found no

In January 1933 Graham Greene had published an essay about her in The London Mercury. ‘The obvious characteristic of Beatrix Potter’s style is selective realism, which takes emotion for granted and puts aside love and death with a gentle detachment reminiscent of Mr E. M. Forster’s’; and he expounded the theory that ‘At some time between 1907 and 1909 Miss Potter must have passed through an emotional ordeal which changed the character of her genius. It would be impertinent to inquire into the

great reason to be grateful to her, though we were not on particularly good terms for the last good while. I have learnt from her freehand, model, geometry, perspective and a little water-colour flower painting. Painting is an awkward thing to teach except the details of the medium. If you and your master are determined to look at nature and art in two different directions you are sure to stick.’ Left on her own Beatrix drew with much more freedom. This sketch was inscribed: ‘Siskin, who died

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