Editing Kate Greenaway (section)

==Education and early work==
[[File:Kate Greenaway at 16.jpg|thumb|Greenaway at age 16]]
In 1857, at age 12, she began night classes at nearby Finsbury School,<ref name = "Carpenter225"/><!-- needs fleshing out --> a local branch of [[Royal College of Art|South Kensington School of Art]] participating in [[Science and Art Department|National Course of Art Training]] in the decorative arts. Night courses, open only to women, were offered in drawing, porcelain painting, wood engraving, and [[lithography]].<ref name ="Devereux57ff"/> She enrolled full-time a year later. The curriculum, devised by [[Henry Cole (inventor)|Henry Cole]], was meant to train artisans in designing decorative wallpaper, tiles, and carpets. It emphasised strict adherence to copying geometric and botanical elements without creativity. There were four stages of courses, which she completed in 1864<ref name ="Devereux57ff">Devereux, 57-60</ref> before going to the [[Royal Female School of Art]].<ref name="Carpenter226"/>

The headmaster at the Royal Female School of Art was [[Richard Burchett]], whom [[Elizabeth Thompson]] described as a "bearded, velvet-skull-capped and cold-searching-eyed man."<ref name ="Devereux57ff" /> Greenaway was quite shy and thought of herself as plain and unattractive compared to the other students. Yet she became friends with the much more popular Thompson,<ref name ="Devereux57ff" /> with whom she shared a studio.<ref name="Spielmann, 43">Spielmann, 43</ref> The two young women worked diligently in their studio to perfect their skills. At this point she was allowed to draw human figures, at first from plaster casts and then from models dressed in historical or ornamental costumes, skills she applied during the summers in Rolleston. However, she was unable to fully master human anatomy;<ref name = "Carpenter226">Carpenter, 226</ref> frustrated that nude models were not permitted in the women's classes, she enrolled in night classes at [[Heatherley School of Fine Art]] where she met [[Edward Burne-Jones]], [[Edward Poynter]], and [[Walter Crane]].<ref name ="Devereux57ff" />

[[File:Kate Greenaway Diamond and Toads 1871.jpg|thumb|left|Greenaway illustrated "[[Diamonds and Toads]]" for [[Frederick Warne & Co]] in 1871.]]
In 1871 she enrolled in the [[Slade School of Fine Art]], where Poynter was head master.<ref name ="Devereux57ff" /> Determined to break from Henry Cole's rigid curriculum, he exhorted students to become more expressive and creative, concepts alien to Greenaway whose long early years of training consisted solely of copying and work with geometric designs. She struggled at Heatherley and once again was frustrated that women were segregated from men in the life class.<ref name ="Devereux57ff" />

While she was still in school, Greenaway received commissions for children's book illustrations. The first came in 1867 for a frontispiece for ''Infant Amusements'', setting a path towards specialization in children's books.<ref name="Huneault" >Huneault, 611</ref> Her reputation was built on the awards she had won while completing the National Art Courses, and buttressed with early exhibitions. She exhibited a set of fairy watercolours in 1868, which she sold to [[W. J. Loftie]],  publisher of ''People's Magazine''.<ref name="Huneault" >Huneault, 611</ref> He set them to verse and printed them in his magazine. A year later [[Frederick Warne & Co]] purchased six illustrations for a toy book edition of "[[Diamonds and Toads]]",<ref name="deGrummond">[http://www.lib.usm.edu/legacy/degrum/public_html/html/research/findaids/greenaway.htm ''Greenaway Papers''], USM de Grummond Library. Accessed October 4, 2017</ref> printed by [[Joseph Martin Kronheim]],<ref>Spielmann, 49</ref> which took a year to complete.<ref name ="Devereux57ff" /> In 1871 Gall & Inglis published an edition of [[Madame d'Aulnoy]]'s fairy tales, which she illustrated.<ref name="deGrummond"/> That year she continued with her classes and earned more than 70 pounds.<ref name ="Devereux57ff" />

She was aware that the work she produced was overly gaudy, in part because she lacked technical knowledge of the [[Chromoxylography]] process. To gain a better understanding of the colour process, she made frequent visits to the [[National Gallery]],<ref name="Devereux60">Devereux, 60</ref> where she studied masters such as [[Jan van Eyck]], whose [[Arnolfini Portrait]] she especially liked.<ref name="Spielmann, 43"/> At that time, she gained access to the manuscript room at the [[British Museum]], where she studied [[illuminated manuscripts]].<ref>Spielmann, 47</ref>