After the watercolor paint was dry, the English writer would add outlines and details using pen and ink. After sketching the outline of her illustration with pencil, Potter applied multiple thin layers of watercolor to achieve a foreground and background and to bring to life the various interesting and distinct textures of her subjects. Potter’s style is distinctive for its thinly and loosely applied watercolor paint and black ink linework. To create an illustration, Potter would begin with a light graphite pencil to make sketches on watercolor paper of her subject, typically observed from real-life examples to create an accurate rendering. In 1997, one hundred years later, the Linnean Society offered a formal apology for the sexism that Beatrix Potter experienced.īeatrix Potter’s Watercolor Illustrations The Tale of the Flopsy Bunnies, page 11 by Beatrix Potter, 1909, via the British Museum, LondonĪs both a scientist and an artist, Beatrix Potter’s medium of choice was watercolor and ink. Potter ultimately withdrew the paper and its illustrations from consideration. Potter submitted a research paper to the board of experts at the prestigious Linnean Society of London in 1897, which ignored her due to her gender and amateur status. She embarked on an ambitious project compiling scientific research and detailed illustrations of fungus spores in order to propose her own theory about how the fungi reproduced. The English writer studied mycology alongside experts, including those at the Royal Botanic Kew Gardens. As an illustrator, she used pen, pencil, and watercolor to beautifully and accurately capture the colorful and mysterious fungus specimens she collected-some of which were microscopic in size.ĭrawing, examples of fungi by Beatrix Potter, 1897, via Victoria & Albert Museum, London By adulthood, Potter had zeroed in on mycological illustration. Much like her approach to teaching herself art, the English writer carefully studied and illustrated animals, insects, plants, and fungi from life and from books, developing a keen skill at scientific observation alongside her artistic expertise. 1895, via Victoria & Albert Museum, Londonĭespite lacking formal schooling and academic qualifications, Beatrix Potter was passionate about natural science topics from early childhood, including biology, botany, and mycology, which were popular fascinations in the Victorian era. Potter always maintained that receiving a formal art education would have “rubbed off some of the originality” of her work.Ī Self-Taught Scientist Study of bees and other insects by Beatrix Potter, c. She also practiced copying the works of famous British artists whose works she studied in books and galleries, including the landscape paintings of John Constable. She spent years observing plants, animals, and insects and making detailed drawings of them. 1902-07, via Victoria & Albert Museum, LondonĪlthough she pursued some formal education in the arts, Beatrix Potter was mostly self-taught as an artist.

Rabbit pouring out the tea for Peter while her children look on: variant (The Tale of Peter Rabbit) by Beatrix Potter, c. Family friend and Pre-Raphaelite artist John Everett Millais recognized Potter’s burgeoning talent and encouraged her to continue seriously studying art. As a burgeoning artist, she managed to develop a unique personal style while staying informed of the prevailing styles popularized by the most successful contemporary artists. Beatrix Potter’s Background The Tale of the Flopsy Bunnies (Cover Illustration) by Beatrix Potter, 1901, via the British Museum, LondonĪs a teenager, Beatrix Potter became more serious about honing her skills as a watercolor artist and made many visits to London’s art galleries.

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