Kate Greenaway, 1846 - 1901

What could be more British than Kate Greenaway? One hundred years
have passed since her death but the legacy of her books, illustrations,
watercolours and greeting cards is still enjoyed today.

Catherine was born in North London on 17th March 1846 to Elizabeth and
John Greenaway. Her father was a draftsman and master engraver and her
mother an accomplished seamstress.

Throughout her childhood money was always tight. Her father supported
his elderly mother and two unmarried sisters as well as his own growing
family. When things were really tough Elizabeth moved the family to
Islington and opened a successful fancy goods shop making children's
and ladies clothing.

Kate was left to explore her surroundings, often living in a daydream
in a very confused world. Her reluctance to grow up is reflected
throughout her career. Kate once said: 'I hated to be grown-up, and
cried when I had my first long dress.'

Kate's formal education consisted of a short spell at Mrs Allaman's
infant school where she learnt her 'letters', plus various short stays
at local schools that she absolutely hated. Kate became shy, introvert,
and unassuming, often suffering bouts of depression. In later life she
was not a sociable person, hating crowds and rarely going out alone in
public.

Kate's artistic education began at the age of twelve when she persuaded
her mother to pay three pence a lesson for twice weekly classes at the
Finsbury School of Art before progressing to the Central School at the
age of eighteen. By 1871 she had moved to the Slade School. At the
Central School female students were not allowed to draw from the nude.
The Slade advocated equal education for both sexes!

In 1868 Kate began designing cards for the greeting card manufacturer
Marcus Ward. Flowers, fruits and fairies featured in her illustrations,
but she is best remembered for her rosy-cheeked children in idyllic
surroundings. They often appeared in Regency-style historical costumes
not necessarily based on fact. Her illustrations reflected the cosy
childhood world that she was so reluctant to leave. Kate's photographic
memory stood her in good stead as she recalled the well-dressed people
for whom her mother had designed clothes. Many of these outfits
appeared in Kate's illustrations.

One of her first designs, a Valentine greeting, sold over 25,000 copies
in just a few weeks. She received only ?3 for this illustration but at
least her work was being noticed. Some of Kate's card sets, still in
existence today, command extremely high prices. She eventually left
Marcus Ward after an ownership dispute over her original
drawings.
In 1876 Kate's father introduced her to Edmund Evans who recognised
that her talent and style were well suited to his wood-block printing
process. By 1877 Kate's earnings exceeded ?200 and her reputation grew
rapidly. She preferred to illustrate books by amateur authors who took
a high moral stance or recalled childhood experiences.
Kate's first book, Under the Window (1879) was engraved and printed by
Evans, and published by Routledge. This was a collection of rhymes that
she both wrote and illustrated. Produced in high-quality full colour
the initial printing of 20,000 copies sold out immediately and Evans
had to produce of a further 70,000 copies.

During the next few years Kate wrote and illustrated several successful
books including Mother Goose (1881), The Language of Flowers (1884),
Baby's Birthday Book (1886), and the series of Kate Greenaway's
Almanacs. The first of the Almanacs sold over 90,000 copies. Kate
received ?5 per drawing plus half of the profits from sales.
Kate also illustrated the work of others, including Robert Browning's
The Pied Piper of Hamelin (1888), and was a regular contributor to
numerous periodicals including The Illustrated London News, Punch and
The Girl's Own Paper.

However, she had her critics. In the competitive children's book market
of the 1880s Randolph Caldecott noted that sales of Kate's books had
damaged his book sales.
Following the success of Under the Window (1879), John Ruskin, the art
critic, wrote to Kate praising her innocent interpretation of
childhood, but saying that she lacked realism. With much of the
population living in poverty Kate believed that realism was not what
her public wanted to see. Flattered by Ruskin's interest Kate wrote
back and thus began a twenty-year correspondence.

Kate, like modern artists, was the victim of copyright infringements
with pirated copies of her books appearing throughout Europe. She
detested the way her art was used and decided to sell only the rights
to her work. By retaining the original art she hoped to ensure artistic
control and safeguard future income, but with technology advancing with
alarming speed this must have been almost impossible.

Through her association with Edmund Evans she met Frederick
Locker-Hampson. Flattered by the attentions of this rich, middle-aged
poet, Kate accepted his advice willingly. Through him she met several
influential families, many of whom commissioned her to paint portraits
of their children. Locker-Hampson encouraged Kate to buy land at a cost
of ?2000 and commission an architect to design a new house. All of this
was beyond her means and became a serious financial burden that she
would regret in later life.

Throughout this period Kate continued her correspondence with Ruskin
although they did not meet until 1882. She was convinced from his
increasingly affectionate letters, that although he was 64 and she 36,
he would soon propose marriage. Ruskin became the main focus of her
affections.

Locker-Hampson distrusted Ruskin. Whereas Locker-Hampson had boosted
Kate's confidence, Ruskin, not known for his tact and discretion, had
destroyed it. Locker-Hampson believed the main reason for Ruskin's
affections for Kate were her drawings of prepubescent girls. Ruskin's
marriage had ended in 1854 amid scandal and rumours. Stories circulated
about his affections for young girls and he was known to be mentally
unstable. Locker-Hampson kept his feelings to himself since, in the
19th century, one did not discuss these matters with a young
lady!

The Language of Flowers (1884) was considered by many to be Kate's
finest book. Half of the first 19,500 copies went to America. Ruskin
was highly critical. In his opinion book illustration was a menial art.
When sales of her work faltered she became convinced that Ruskin was
right. With his encouragement she concentrated on watercolours but
these sold badly. Even so, in 1890, Kate was elected a member of the
Royal Institute of Painters in Watercolours.

Depressed and confused after witnessing one of Ruskin's mental
breakdowns Kate finally acknowledged that there was no prospect of
marriage. Her depression worsened with the deaths of her father 1890
and her mother in 1894. Kate, financially over-stretched with the
building of her new house, was obliged to become her own housekeeper in
an effort to reduce expenses.

John Ruskin died in 1900. Although Kate had given up all hope of
marrying him, his death affected her greatly. Diagnosed with breast
cancer Kate died on 6th November 1901.

Kate Greenaway is remembered annually when The Kate Greenaway Medal,
established in 1956 by the Library Association of Great Britain, is
awarded for the best children's book illustration.

Bibliography:
Engen, R, Kate Greenaway - a Biography, Macdonald Futura Publishers
Ltd. 1981