Atlantic Monthly, Vol. 7, No. 40, February, 1861

Atlantic Monthly, Vol. 7, No. 40,
February, 1861

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February,
1861, by Various
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Title: Atlantic Monthly Volume 7, No. 40, February, 1861
Author: Various
Release Date: February 16, 2004 [eBook #11117]
Language: English
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***START OF THE PROJECT GUTENBERG EBOOK ATLANTIC
MONTHLY VOLUME 7, NO. 40, FEBRUARY, 1861***
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THE ATLANTIC MONTHLY.
A MAGAZINE OF LITERATURE, ART, AND POLITICS.
VOL. VII.--FEBRUARY, 1861.--NO. XL.

OUR ARTISTS IN ITALY.
WILLIAM PAGE.
Among artists, William Page is a painter.
This proposition may seem, to the great public which has so long and
so well known him and his works, somewhat unnecessary. There are

few who are not familiar with his paintings. Whether these seem great
or otherwise, whether the Venus be pure or gross, we may not here
discuss; the public has, and will have, many estimates; yet on one point
there is no difference of opinion, apparently. The world willingly calls
him whose hand wrought these pictures a painter. It has done so as a
matter of course; and we accept the title.
But perhaps the title comes to us from this man's studio, charged with a
significance elevating it above the simply self-evident, and rendering it
worthy of the place we have given it as a germ proposition.
Not every one who uses pigments can say, "I also am a painter." To
him who would make visible the ideal, there are presented the marble,
the pencil, and the colors; and should he employ either of these, just in
proportion to his obedience to the laws of each will he be a sculptor, a
designer, or a painter; and the revelations in stone, in light and shade,
or on canvas, shall be his witnesses forevermore,--witnesses of him not
only as an artist, in view of his relation to the ideal world, but as
possessing a right to the especial title conferred by the means which he
has chosen to be his interpreter.
The world has too much neglected these means of interpretation. It has
condemned the science which would perfect the art, as if the false could
ever become the medium of the true. The art of painting has suffered
especially from the influence of mistaken views.
Nor could it be otherwise. Color-manifestation, of all art-utterance, is
the least simple. It requires the fulfilment of a greater number of
conditions than are involved in any other art. He who has selected
colors as his medium cannot with impunity neglect form; light and
shade must be to him as important as they are to the designer in
_chiaro-scuro;_ while above all are the mystery and power of color.
There is perplexity in this. The science of form seems to be vast enough
for any man's genius. No more than he accomplishes is demanded of
the genuine sculptor. His life has been grand with noble fulfilments.
We, and all generations, hold his name in the sacred simplicity which
has ever been the sign of the consummate. Men say, Phidias, Praxiteles,
and know that they did greatly and sufficiently.
Yet with the science which these men had we combine elements
equally great, and still truth demands the consummate. Hence success
in painting has been the rarest success which the world has known. If

we search its history page by page, the great canvas-leaves written over
with innumerable names yield us less than a score of those who have
overcome the difficulties of its science, through that, achieving art, and
becoming painters.
Yes, many men have painted, many great artists have painted, without
earning the title which excellence gives. Overbeck, the apostle artist,
whose rooms are sacred with the presence of the divine, never earned
that name. Nor did thousands who before him wrought patiently and
earnestly.
We think that we have among us a man who has earned it.
What does this involve? Somewhat more than the ability critically to
distinguish colors and to use them skilfully.
Although practice may discipline and develop this power, there must
exist an underlying physiological fitness, or all study and experience
will be unavailing. In many persons, the organization of the eye is such
that there can be no correct perception of the value, relation, and
harmony of hues. There exists often an utter inability to perceive
differences between even the primary colors.
The late sculptor Bartholomew declared himself unable to decide which
of two pieces of drapery, the one