Her style belongs to the Boston School of painters. She trained under Frank Benson and Edmund Tarbell, adopting their focus on clear light and technical precision. Page avoided the loose brushwork of some contemporaries, preferring a controlled realism that captured the specific character of her sitters. Her portraits of men like George Howard Monks and Archibald Cary Coolidge show a careful attention to posture and the textures of academic dress.

Modern collectors value Page for her ability to bring a sense of presence to formal portraiture. Her work provides a window into the intellectual circles of early twentieth-century New England. These prints suit traditional interiors or home offices where a sense of history and quiet authority is desired. The clarity of her compositions ensures that the images remain striking even in a contemporary domestic setting.