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“John Campbell had grown up contentedly on the old farm under Mount Everett until one summer when a landscape painter took board with the family.  At first the lad despised the gentle art as unmanly, but as he watched the mysterious processes he longed to try his hand.  The good-natured Duesseldorfian willingly lent brushes and bits of millboard upon which John proceeded to make the most lurid confections.  The forms of things were, of course, an obstacle to him, as they are to everybody.  ‘I never could drore,’ he told me, ’and I never wanted to drore like that painter chap.  Why he’d fill a big canvas with little trees and rocks and ponds till it all seemed no bigger than a Noah’s ark show.  I used to ask him, “Why don’t you wait till evening when you can’t see so much to drore?"’ To such criticism the painter naturally paid no attention, while John devoted himself to sunsets and the tube of crimson lake.  From babyhood he had loved the purple hour, and his results, while without form and void, were apparently not wholly unpleasing, for his master paid him the compliment of using one or two such sketches as backgrounds, adding merely the requisite hills, houses, fences, and cows.  These collaborations were mentioned not unworthily beside the sunsets of Kensett and Cropsey next winter at the Academy.  From that summer John was for better or worse a painter.

“His first local success was, curiously enough, an historical composition, in which the village hose company, almost swallowed up by the smoke, held in check a conflagration of Vesuvian magnitude.  The few visible figures and Smith’s turning-mill, which had heroically been saved in part from the flames, were jotted in from photographs.  Happily this work, for which the Alert Hose Company subscribed no less than twenty-five dollars, providing also a fifty-dollar frame, fell under the appreciative eye of the insurance adjuster who visited the very ruins depicted.  Recognising immediately an uncommonly available form of artistic talent, this gentleman procured John a commission as painter in ordinary to the Vulcan, with orders to come at once to town at excellent wages.  By his twentieth year, then, John was established in an attic chamber near the North River with a public that, barring change in the advertising policy of the Vulcan, must inevitably become national.  For the lithographers he designed all manner of holocausts; at times he made tours through the counties and fixed the incandescent mouth of Vulcan’s forge, the figures within being merely indicated, on the face of a hundred ledges.  That was a shame, he freely admitted to me; the rocks looked better without.  In fact, John Campbell’s first manner soon came to be a humiliation and an intolerable bondage.  He felt the insincerity of it deeply.  ‘You see, it’s this way,’ he explained to me, ’you don’t see the shapes by firelight or at sunset, but you have seen them all day and you know they’re there.  Nobody that don’t have those shapes in his brush can make you feel them in a picture.  Everybody puts too little droring into sunsets.  Nobody paints good ones, not even Inness [we must remember it was in the early ’70s], except a Frenchman called Roosoo.  He takes ’em very late, which is best, and he can drore some too.’”