The King and the Queen were riding
Upon a Summer's day,
And a Blackbird flew above them,
To hear what they did say.
The King said he liked apples,
The Queen said she liked pears;
And what shall we do to the Blackbird
Who listens unawares?
But, as a rule, it must be admitted of her poetry that, while nearly
always poetic in its impulse, it is often halting and inarticulate in
its expression. A few words may be added in regard to the mere facts of
Miss Greenaway's career. She was born at 1 Cavendish Street, Hoxton, on
the 17th March, 1846, her father being Mr. John Greenaway, a draughtsman
on wood, who contributed much to the earlier issues of the _Illustrated
London News_ and _Punch_. Annual visits to a farm-house at Rolleston in
Nottinghamshire--the country residence already referred to--nourished
and confirmed her love of nature. Very early she showed a distinct bias
towards colour and design of an original kind. She studied at different
places, and at South Kensington. Here both she and Lady Butler "would
bribe the porter to lock them in when the day's work was done, so that
they might labour on for some while more." Her master at Kensington was
Richard Burchett, who, forty years ago, was a prominent figure in the
art-schools, a well instructed painter, and a teacher exceptionally
equipped with all the learning of his craft. Mr. Burchett thought highly
of Miss Greenaway's abilities; and she worked under him for several
years with exemplary perseverance and industry. She subsequently studied
in the Slade School under Professor Legros.
Her first essays in the way of design took the form of Christmas cards,
then beginning their now somewhat flagging career, and she exhibited
pictures at the Dudley Gallery for some years in succession, beginning
with 1868. In 1877 she contributed to the Royal Academy a water colour
entitled "Musing," and in 1889 was elected a member of the Royal
Institute of Painters in Water Colours.
By this date, as will be gathered from what has preceded, Miss Greenaway
had made her mark as a producer of children's books, since, in addition
to the volumes already specially mentioned, she had issued _Under the
Window_ (her earliest success), _The Language of Flowers, Kate
Greenaway's Painting Book, The Book of Games, King Pepito_ and other
works. Her last "Almanack," which was published by Messrs Dent and Co.,
appeared in 1897. In 1891, the Fine Arts Society exhibited some 150 of
her original drawings--an exhibition which was deservedly successful,
and was followed by others.[28] As Slade Professor at Oxford, Ruskin,
always her fervent admirer, gave her unstinted eulogium; and in France
her designs aroused the greatest admiration. The _Débats_ had a leading
article on her death; and the clever author of _L'Art du Rire_, M.
Arsène Alexandre, who had already written appreciatively of her gifts as
a "_paysagiste_," and as a "_maîtresse en l'art du sourire, du jolt
sourire_ _d'enfant inginu et gaiement candide_" devoted a column in the
_Figaro_ to her merits.
Note:
[28] Among other things these exhibitions revealed the great superiority
of the original designs to the reproductions with which the public are
familiar--excellent as these are in their way. Probably, if Miss
Greenaway's work were now repeated by the latest form of three-colour
process, she would be less an "inheritor"--in this respect--"of unfulfilled
renown."
It has been noted that, in her later years, Miss Greenaway's popularity
was scarcely maintained. It would perhaps be more exact to say that it
somewhat fell off with the fickle crowd who follow a reigning fashion,
and who unfortunately help to swell the units of a paying community. To
the last she gave of her best; but it is the misfortune of distinctive
and original work, that, while the public resents versatility in its
favourites, it wearies unreasonably of what had pleased it at
first--especially if the note be made tedious by imitation. Miss
Greenaway's old vogue was in some measure revived by her too-early death
on the 6th November 1901; but, in any case, she is sure of attention
from the connoisseur of the future. Those who collect Stothard and
Caldecott (and they are many!) cannot afford to neglect either _Marigold
Garden_ or _Mother Goose_.[29]
Note:
[29] Since the above article appeared in the _Art Journal_, from
which it is here substantially reproduced, Messrs. M.H, Spieimann and
G.S. Layard have (1905) devoted a sumptuous and exhaustive volume to
Miss Greenaway and her art. To this truly beautiful and sympathetic book
I can but refer those of her admirers who are not yet acquainted
with it.