William Page Atkinson Wells (1872-1923) stands as an intriguing, if somewhat understated, figure in the annals of British art. His life was characterized by a peripatetic existence, a quest for artistic knowledge that took him from the industrial heartlands of Britain to the sun-drenched landscapes of Australia and the hallowed art circles of Paris. Primarily a painter of landscapes, Wells’s work reflects the prevailing artistic currents of his time, most notably the enduring influence of the French Barbizon School, which championed naturalism, tonal harmony, and an empathetic portrayal of rural life. Though not achieving the widespread fame of some of his contemporaries, his oeuvre offers a quiet testament to a dedicated artist navigating the evolving world of late 19th and early 20th-century painting.
Early Life and Artistic Foundations
Born in Glasgow in 1872, William Page Atkinson Wells emerged into a Britain at the zenith of its industrial power, yet also a society increasingly questioning the relentless march of progress and seeking solace and authenticity in nature. The artistic environment of Glasgow itself was vibrant, with the "Glasgow Boys" like James Guthrie and John Lavery challenging academic conventions and embracing a more naturalistic and impressionistic approach to painting, often depicting rural scenes and contemporary life with a fresh, vigorous handling of paint.
While details of Wells's earliest artistic inclinations remain somewhat scarce, it is known that he pursued formal art training at the prestigious Slade School of Fine Art in London. During the late 19th century, the Slade, under figures like Alphonse Legros and later Fred Brown, Henry Tonks, and Philip Wilson Steer, was a crucible of new artistic ideas. It offered a more liberal alternative to the Royal Academy Schools, emphasizing drawing from life and encouraging a greater degree of individual expression. Students at the Slade during this period included future luminaries such as Augustus John and William Orpen, and the atmosphere was one of rigorous training combined with an openness to continental influences, particularly French Impressionism and Post-Impressionism. Wells's time at the Slade would have provided him with a solid grounding in draughtsmanship and painting techniques, essential tools for his future career.
An Australian Interlude
A significant, though less documented, period in Wells's early career was his five-year sojourn in Sydney, Australia. The Australian art scene at this time was also experiencing a period of dynamic growth, with the rise of the Heidelberg School. Artists like Tom Roberts, Arthur Streeton, Charles Conder, and Frederick McCubbin were forging a distinctly Australian school of landscape painting, characterized by its depiction of the unique light and atmosphere of the Australian bush, often painted en plein air.
While the specific nature of Wells's activities in Sydney – whether he exhibited, taught, or primarily absorbed the local artistic milieu – is not extensively recorded, his presence there suggests an adventurous spirit and a desire to experience different environments. It is plausible that the emphasis on outdoor painting and the depiction of national landscape, so central to the Heidelberg School, resonated with his own developing interests. This period abroad would undoubtedly have broadened his horizons and exposed him to different qualities of light and landscape, experiences that often enrich an artist's palette and perspective.
Parisian Studies and the Barbizon Embrace
Following his Australian adventure, Wells returned to Europe, drawn, like so many artists of his generation, to Paris, the undisputed capital of the art world. It was here, and in the surrounding French countryside, that he encountered the profound influence of the Barbizon School. This mid-19th-century movement, named after the village of Barbizon near the Forest of Fontainebleau, represented a pivotal shift away from the idealized landscapes of Neoclassicism and the dramatic narratives of Romanticism towards a more direct, truthful, and often poetic depiction of nature and rural peasant life.
The Barbizon painters, including Jean-Baptiste-Camille Corot, Jean-François Millet, Théodore Rousseau, Charles-François Daubigny, Constant Troyon, Narcisse Virgilio Díaz de la Peña, and Jules Dupré, sought to capture the transient effects of light and atmosphere, often working directly from nature. Corot was celebrated for his silvery tones and lyrical landscapes, while Millet depicted the dignity of peasant labor with profound empathy. Rousseau was a master of forest scenes, and Daubigny, with his famous studio boat, captured the gentle beauty of French rivers.
The Barbizon School's emphasis on "paysage intime" – intimate landscape – and its rich, often subdued, tonal harmonies and bright, yet naturalistic, colors clearly captivated Wells. This influence is noted as a defining characteristic of his work, suggesting that he absorbed their commitment to capturing the mood and essence of a place, rather than mere topographical accuracy. The Barbizon painters' dedication to observing and rendering the subtle nuances of the natural world provided a powerful counterpoint to more academic or overtly avant-garde approaches, and its legacy continued to inspire landscape artists well into the 20th century. Wells's immersion in this tradition would have refined his ability to see and interpret the landscape with sensitivity and depth.
A Return to Britain: Preston and Landscape Focus
After his formative experiences in France, Wells briefly returned to his native Glasgow before settling in Preston, Lancashire, for a significant period of seven years. Here, he established himself primarily as a landscape painter. Lancashire, with its varied scenery ranging from industrial townscapes to pastoral countryside and coastal areas, would have offered ample subject matter. The late Victorian and Edwardian eras saw a continued appreciation for landscape painting in Britain, with artists like George Clausen and Henry Herbert La Thangue depicting rural life with a blend of realism and social awareness, often influenced by French naturalism.
While specific details of Wells's output during his Preston years are not extensively cataloged, it is reasonable to assume he applied the principles learned from the Barbizon School to the English landscape. His focus would likely have been on capturing the particular light, atmosphere, and character of the Lancashire environment. This period of sustained work as a landscape painter would have allowed him to hone his skills and develop his personal artistic voice within the tradition he so admired. The choice to settle in a regional center like Preston, rather than the bustling art market of London, might suggest a preference for a quieter life, more directly connected to the landscapes he chose to paint.
The Final Years in Devon
Ultimately, William Page Atkinson Wells moved to Appledore, a picturesque fishing village in Devon, on the southwest coast of England. This area, known for its dramatic coastline, charming villages, and soft, maritime light, has long attracted artists. It was in Appledore that Wells spent his final years, continuing to paint until his death in 1923. The Devon landscape, with its rolling hills, estuaries, and coastal views, would have provided a rich source of inspiration, aligning well with the Barbizon sensibility for capturing the intimate beauty of nature.
His relocation to Devon places him in a region with a strong artistic heritage. The nearby Newlyn School in Cornwall, for instance, had earlier championed plein air painting and depictions of local fishing communities, with artists like Stanhope Forbes and Frank Bramley. While Wells's direct connections to such groups are not documented, the general artistic climate in the West Country was conducive to landscape and genre painting rooted in direct observation.
Artistic Style and Notable Works
William Page Atkinson Wells's artistic style is primarily characterized by his adherence to the principles of landscape painting, deeply informed by the Barbizon School. This implies a focus on naturalism, an appreciation for the subtleties of light and atmosphere, and a palette that, while capable of brightness, likely favored rich, harmonious tones. His primary medium was oil on canvas.
Several works provide insight into his artistic concerns:
_Landscape – Girl in a Meadow_ (1905): This oil on canvas, measuring 61cm x 45.7cm and housed in the Harris Museum, Preston, is perhaps his most accessible known work. The title itself evokes the Barbizon tradition of integrating figures naturally within a landscape setting, often suggesting a quiet, pastoral mood. Created during or shortly after his likely immersion in Barbizon principles, this painting would be expected to display a sensitive rendering of foliage, light filtering through trees or across a field, and a figure that is part of, rather than dominant over, the natural scene. The dimensions suggest a moderately sized easel painting, suitable for capturing a specific moment or view.
_Summer Morning_: While details are scarce beyond its appearance at a Christie's auction, the title suggests a work focused on the particular qualities of light and atmosphere associated with a specific time of day and season. Such subjects were beloved by the Barbizon painters and their followers, allowing for explorations of color temperature, shadow patterns, and the overall sensory experience of being in nature.
Untitled Painting (auction mention): A work described as 25 x 24 inches (approximately 64 x 61.5 cm) was noted at auction with an uneven and smooth varnish layer, and evidence of restoration in the sky under UV light. This information, while technical, points to the afterlife of his paintings and the common practice of conservation. The near-square format is also noteworthy.
_Daisy Field_: Described as a larger work (3ft 3in x 2ft 8in, approximately 100cm x 81cm), this title again points to a direct engagement with a specific natural motif. A field of daisies offers opportunities for textural variety, the play of light on countless small forms, and a sense of expansive, yet detailed, natural beauty.
_Still Life of Flowers in a Satsuma Bowl_: Measuring 39.5 x 29.5 cm, this work indicates that Wells also engaged with the genre of still life. Flower painting has a long and distinguished tradition, and the mention of a Satsuma bowl introduces an element of Japonisme, the influence of Japanese art and aesthetics that was highly fashionable in Europe from the mid-19th century onwards. Artists like James McNeill Whistler and many Impressionists were fascinated by Japanese prints and decorative objects. This work would likely showcase Wells's skill in rendering textures, colors, and the delicate forms of flowers.
_Lilac Sunbonnet_: This evocative title suggests a genre scene, perhaps a figure in a garden, with "a basket of eggs" further grounding it in rural life. The "lilac sunbonnet" itself could be a focal point of color and character. Such paintings often blend landscape and figurative elements, telling a quiet story or capturing a moment of everyday charm.
_River Landscape_ (1909): A work measuring 50.5cm x 76cm, its date places it firmly within his mature period. River landscapes were a staple for artists like Daubigny, offering reflections, varied banks, and a sense of flowing movement. This painting would likely demonstrate Wells's ability to handle water, sky, and riparian vegetation with the tonal sensitivity characteristic of his influences.
Wells in the Context of His Contemporaries
To fully appreciate William Page Atkinson Wells, it is essential to place him within the broader artistic landscape of his time. He worked during a period of immense artistic diversity and change. While he was absorbing the lessons of the Barbizon School, Impressionism had already revolutionized painting in France, with artists like Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir. Post-Impressionism, with figures such as Paul Cézanne, Vincent van Gogh, and Paul Gauguin, was further pushing the boundaries of artistic expression.
In Britain, the art world was equally varied. The Royal Academy still held considerable sway, but alternative groups like the New English Art Club (NEAC), which included figures like Philip Wilson Steer and Walter Sickert, championed more progressive, French-influenced styles. Sickert, for instance, would go on to be a leading figure in the Camden Town Group, focusing on scenes of urban life with a distinctive, somewhat somber realism.
Expatriate American artists like James McNeill Whistler and John Singer Sargent were major figures in London. Whistler, with his "art for art's sake" philosophy and emphasis on tonal harmonies, shared some aesthetic ground with the Barbizon sensibility, albeit with a more urban and aestheticized focus. Sargent, while famed for his society portraits, was also a brilliant landscape and watercolor painter.
The Scottish art scene, from which Wells originated, continued to thrive with the Scottish Colourists – Samuel Peploe, F.C.B. Cadell, Leslie Hunter, and J.D. Fergusson – emerging in the early 20th century, known for their bold use of color and post-impressionist influences.
Wells's commitment to a Barbizon-influenced landscape style places him within a persistent and respected, if not always avant-garde, tradition. Many artists continued to find inspiration in the direct observation of nature and the pursuit of tonal realism, even as Modernism began to take hold. His path was one of quiet dedication to craft and a particular vision of landscape, rather than a pursuit of radical innovation. His travels, from Glasgow to Sydney, Paris, Preston, and finally Appledore, suggest an artist continually seeking environments that would nurture his specific artistic interests.
Legacy and Conclusion
William Page Atkinson Wells may not be a household name in the grand narrative of art history, but his life and work offer a valuable glimpse into the experiences of a dedicated artist working in the late 19th and early 20th centuries. His journey reflects a common pattern of the era: seeking training at established institutions like the Slade, making the pilgrimage to Paris to absorb continental influences, and then finding a personal niche, in his case, the enduring appeal of landscape painting filtered through the poetic realism of the Barbizon School.
His peripatetic career, spanning continents and diverse regions within Britain, speaks to a restless search for congenial environments and subject matter. The known titles of his works suggest a consistent engagement with the natural world, from intimate floral still lifes to broader pastoral scenes and river views. The influence of the Barbizon School, with its emphasis on rich tones, bright but naturalistic colors, and an empathetic connection to the landscape, remained a guiding principle.
While he may not have forged a radically new artistic path, Wells contributed to the rich tapestry of British landscape painting. His works, found in collections like the Harris Museum, serve as a reminder of the many artists who, outside the glare of the avant-garde spotlight, diligently pursued their craft, capturing the beauty and character of the world around them. William Page Atkinson Wells's story is one of quiet dedication, a lifelong engagement with the art of seeing and rendering the landscape, leaving behind a legacy of sensitive and heartfelt depictions of nature.
