One of the articles about Potter that appeared in the days following her death bemoaned the fact that so little had been written about her and that 'her name is scarcely to be found in -reference books'.
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Such experiences fuelled the intensely creative 10-year period following Peter Rabbit that made her rich and famous.
'There are so many contradictions in terms of what she hoped for in her life, and the choices she made,' Renée Zellweger explains.
As a young woman she had a plain, doughy face and shorn mousy hair (when she was in her early twenties, it was chopped off after it started to fall out through ill health).
Latterly, she acquired vast hips and bosoms, swathed in metres of heavy tweed so that she came to resemble the slow-moving cattle she learnt to manage so competently (her feet poked out from beneath her skirts encased in solid, muddy clogs).
Mrs Potter, in particular, was disgusted at the idea of her daughter marrying into 'trade'.
Beatrix refused to break off the engagement although agreed to keep it secret over the summer, during which time her parents prayed her ardour would cool (she insisted on wearing Warne's engagement ring, however, which she did for years after).
Beatrix Potter, children's artist, storyteller and, in old age, farmer and landowner of 4,000 acres of the Lake District, does not, nevertheless, seem an obvious person to attract the attention of Hollywood, let alone become the subject of a feature-length film starring Renée Zellweger and Ewan Mc Gregor.
But Miss Potter has been 15 years in the planning and six years in development.
It is easy for those unfamiliar with her work to write it off as sentimental.
Potter's world is inhabited by, among others, a bunny in a blue coat with brass buttons and a daft white duck in a bonnet and shawl.
Due to her parents' draconian demand for secrecy, Potter could express her feelings only to Millie, Warne's emancipated, unmarried sister, who had become her sole friend and confidante.