Beatrix Potter's Artistic Training

It's interesting to note that while Beatrix Potter had no formal education to speak of she did receive several years of art classes from a teacher named Miss Cameron and she eventually earned an Art Student's Certificate from the Science and Art Department of the Committee of Council on Education for her excellence in freehand and model drawing and flower painting. She also took a 12 lesson course in oil painting in 1883.

Although she was grateful to them for their help, Potter was always critical of her teachers, believing that regardless of what they thought they might teach her the only thing they really could impart was the technical aspects of art. Potter believed the artistic style couldn't be taught, that it was an individual gift, and patiently learned her lessons knowing that she would one day be allowed to develop her own artistic style.

The biggest contributor to Potter's education however, was the hours and hours she spent in solitude studying plants and animals. The Kensington Museum was within walking distance of the Potter home and Beatrix spent many an afternoon there alone, sketching and asking the attendants questions. It was while spending these afternoons in the museum that Potter learned how specimens were mounted and how microscopic plates were prepared thus she learned to draw with an eye toward the microscopic view.

Although Beatrix was extremely interested in entomology, geology and paleontology she was even more intently interested in mycology, the study of fungi. She collected and dissected specimens for years and painted them in minute detail. She even developed scientific theories on mold spores and lichen and her uncle, Sir Henry Roscoe, a notable chemist of the time, helped her try to get her papers published. In 1896, the Royal Botanic Gardens disregarded Potter's research stating that it was childish and amateurish but Potter persisted and wrote another paper that was delivered to the Linnaean Society of London. Again this paper had to be delivered by her uncle because at that time women were not allowed to attend their meetings.

One of Potter's greatest influences was Millais, a member of the Pre-Raphaelite movement. He would often ask to see examples of her artwork and she was always grateful for his encouragements. Potter considered his painting "Ophelia' to be 'probably one of the most marvelous pictures in the world" and Millais said of Potter's artwork, "Plenty of people can draw, but you and my son John have observation."

Potter did most of her sketches in pen-and ink or pencil and for her finished pieces she worked mostly in watercolor. But while her illustrations are wonderful it's the studies she did in her sketchbook that show her true artistic ability. She had in impeccable sense of perspective and a true eye for detail.

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