KATE See also:

• KATE GREENAWAY (1846-1901)

GREENAWAY (1846-1901)  , See also:

• ENGLISH

English artist and See also:

• BOOK

book illustrator, was the daughter of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• GREENAWAY, KATE (1846-1901)

Greenaway, a well-known draughtsman and engraver on See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, and was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• LONDON

London on the 17th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1846 . After a course of study at See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington, at " Heatherley's " See also:

• LIFE

life classes, and at the See also:

• SLADE, FELIX (170o-1868)

Slade School, Kate Greenaway began, in 1868, to exhibit See also:

• WATER

water-See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour drawings at the See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, London . Her more remarkable See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORK

work, however, consisted of See also:

• CHRISTMAS (i.e. the Mass of Christ)

Christmas See also:

• CARDS, PLAYING

cards, which, by See also:

• REASON (Lat. ratio, through French raison)

reason of their See also:

• QUAINT (O. Fr. cointe, from Lat. cognitus, known, probably influenced by association with Lat. corn plus, neat)

quaint beauty of See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design and See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of draughtsmanship, enjoyed an extraordinary See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue . Her subjects were, in the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main, See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young girls, See also:

• CHILDREN, LAW RELATING TO

children, See also:

• FLOWERS, ARTIFICIAL

flowers, and landscape; and the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of artless simplicity, freshness, See also:

• HUMOUR (Latin humor)

humour, and purity of these little See also:

• WORKS

works so appealed to public and artists alike that the enthusiastic welcome habitually accorded to them is to be attributed to something more than love of novelty . In the See also:

• LINE

line she had struck out Kate Greenaway was encouraged by H . Stacy Marks, R.A., and she refused to listen to those See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends who urged her to return to a more conventional manner . Thenceforward her illustrations for children (such as for Little Folks, 1873, et seq.) attracted much See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention . In 1877 her drawings at the Dudley Gallery were sold for £54, and her Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy picture for eighteen guineas; and in the same See also:

• YEAR

year she began to draw for the Illustrated London See also:

• NEWS

News . In the year 1879 she produced Under the Window, of which 150,000 copies are said to have been sold, and of which See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French and See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German See also:

• EDITIONS

editions were also issued . Then followed The Birthday Book, See also:

• MOTHER

Mother See also:

• GOOSE (a common Teut. word, O. Eng. gOs, pl. ges, Ger. Gans, O. Norse gas, from Aryan root, ghans, whence Sans. hansa, Lat. anser (for hanser)
• GOOSE (GAME OF)

Goose, Little See also:

• ANN

Ann, and other books for children which were appreciated not less by adults, and were to be found on See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale in the bookshops of every See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital in See also:

• EUROPE

Europe and in the cities of See also:

• AMERICA

America . The extraordinary success achieved by the young girl may be estimated by the amounts paid to her as her See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share of the profits: for Under the Window she received £113o; for The Birthday Book, £1250; for Mother Goose, goy; and for Little Ann, £567 . These four books alone produced a clear return of £8000 .

" See also:

• TOY
• TOY, CRAWFORD HOWELL (1836– )

Toy-books " though they were, these little works created a revolution in See also:

• ILLUSTRATION

illustration, and so were of real importance; they were loudly applauded by John See also:

• RUSKIN, JOHN (1819-1goo)

Ruskin (See also:

• ART

Art of See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and Fors Clavigera), by Ernest Chesneau and Arsene See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, by Dr Muther in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany, and by leading art-critics throughout the See also:

• WORLD

world . In 1890 Kate Greenaway was elected a member of the Royal See also:

• INSTITUTE (from Lat. instituere, to establish or set up)

Institute of Painters in Water See also:

• COLOURS, MILITARY

Colours, and in 1891, 1894 and 1898 she exhibited water-colour drawings, including illustrations for her books, at the gallery-of the See also:

• FINE

Fine Art Society (by which a re-presentative selection was exhibited in 1go2),wherethey surprised the world by the See also:

• INFINITE (from Lat. in, not, finis, end or limit; cf. findere, to deave)

infinite delicacy,tenderness, and See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace which they displayed . A leading feature in See also:

• MISS

Miss Greenaway's work was her revival of the delightfully quaint See also:

• COSTUME
• COSTUME (through the Fr. costume, from Ital. costume, Late Lat. costuma, a contracted form of Lat. consuetudinem, ace. of consuetudo, custom, habit, manner, &c.)

costume of the beginning of the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century; this See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent humour to her See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy, and so captivated the public See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste that it has been said, with poetic exaggeration, that " Kate Greenaway dressed the children of two continents." Her drawings of children have been compared with See also:

• STOTHARD, CHARLES ALFRED (1786—1821)
• STOTHARD, THOMAS (1755—1834)

Stothard's for grace and with See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds's for naturalness, and those of flowers with the work of See also:

• VAN

van See also:

• HUYSUM, JAN VAN (1682–1749)

Huysum and See also:

• BOTTICELLI, SANDRO

Botticelli . From 1883 to 1897, with a break only in 1886, she issued a See also:

• SERIES (a Latin word from serere, to join)

series of Kate Greenaway's Almanacs . Although she illustrated The Pied See also:

• PIPER, CARL, COUNT (1647-1716)

Piper of See also:

• HAMELIN, FRANCOIS ALPHONSE (1796-1864)

Hamelin and other works, the artist preferred to See also:

• PRO

pro-vide her own See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text; the numerous verses which were found among her papers after her See also:

• DEATH

death prove that she might have added to her reputation with her See also:

• PEN (Lat. penna, a feather, pen)

pen . She had See also:

• GREAT

great charm of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, but was extremely shy of public See also:

• NOTICE

notice, and not less modest in private life . She died at See also:

• HAMPSTEAD

Hampstead on the 6th of See also:

• NOVEMBER (Lat. novem, nine)

November 1901 . See the Life, by M . H . Spielmann and G . S . See also:

• LAYARD, SIR AUSTEN HENRY (1817-1894)

Layard (19o5) .

(M . H .