Sunday, November 10, 2019

Ship camouflage poster | A visual syntax masterpiece

Dazzle ship camouflage (1942), designer unknown
Above This image of a dazzle-camouflaged ship dates from 1942, during World War II. It is most likely British, but it's unclear if it was a poster, the cover of a government publication, or what. One wonders who devised it because it is simply astounding in terms of the rightness of how it's arranged. I know of very few posters (if that's what it is) that are so complex, yet so precise. It really is breathtaking, a masterpiece of graphic design.

Tuesday, November 5, 2019

Blend and Dazzle | Art of Camouflage in PRINT 1991

Above and below In old age, in retirement mode, looking through publication files, found this large, then-wonderful article on a lecture series on camouflage at the Art Academy of Cincinnati. It was published in the January / February 1991 issue of PRINT Magazine (New York). It was my first article for that delightful magazine (now defunct), for which I wrote articles, editorials, and book reviews for probably a dozen years.



Saturday, November 2, 2019

Portrait of Woodrow Wilson | Grouping during WWI

One reason for the effectiveness of camouflage, of various kinds, is our innate tendency to perceive similar components as "belonging together" (called unit-forming) and to see dissimilar components as "belonging apart" (unit-breaking). There was widespread interest in this and related aspects of vision, among artists and scientists, prior to and during World War I. Here are two wartime examples of the playful use of grouping.

Above is a photograph that appears to be an image of US President Woodrow Wilson. It was made by carefully arranging more than twenty thousand soldiers at Camp Chilocothe in Ohio. By wearing certain clothing and standing in designated locations, the soldiers were able "to produce all the lines and shading in a likeness of the face…The lighter portions of the picture were made by soldiers who wore no coats or hats, while in the darker sections, the men were in full uniform. Nearly 50 men were required to represent one lens of the president's eyeglasses. There were 21,000 men in the picture."

Below is President Wilson's image again. It was produced in 1917 by Harvey Parsons, a cartoonist for a Kansas newspaper, and a typesetter named O.W. Kelly. The portrait is made entirely of metal letters, produced on a linotype machine. The letters can also be read as the text of a statement that Wilson had written to Pope Benedictus. As explained at the time, "light-faced type composes the high lights of the picture, and black or bold-faced, the half-tones and darker portions. The proper spacing of the letters is not destroyed, and the reply to the Pope is legible in spite of the underlying likeness." This second method of portraiture can today, of course, be easily made on a computer with an app that is made for the purpose.


Friday, November 1, 2019

Drawing enemy fire and fake clouds of cotton wool

How to draw the enemy's fire | Ken Kling
These are two of my favorite wartime cartoons, both of which were published in Cartoons Magazine (c1917). Above is a drawing by American cartoonist Ken Kling, with the caption: Cartoonists in the Trenches could be Used to Draw the Enemy's Fire. Below is an ingenious proposal for airplane camouflage by British artist Bernard Hugh, originally published in The Bystander (London), in which he recommends the use of large clumps of cloud-like cotton wool, with the caption: Camouflage for Aeroplanes in the Form of Clouds.

An approach to airplane camouflage | Bernard Hugh

Tuesday, October 29, 2019

Disruptive camouflage patterns applied to vehicles

In the last years of World War I, it was common practice in the US to paint disruptive patterns on vehicles, both military and civilian, but for different purposes.

The government photograph below shows a disruptive pattern being applied to military equipment, for the purposes of camouflage. On the right, the boundaries of the areas to be colored are being marked out with chalk and labeled with the first letter of the color. On the left, the color is actually being applied. There were sometimes disagreements about the wisdom of clearly separating the colored areas with dark boundary lines, as shown here. 



In the top photograph, a bus has been painted with disruptive patterns for the purpose of attracting crowds at a wartime fundraising rally, as was also frequently done at recruiting events. In this case, soldiers recovering from injuries are seated on top of the bus. This pattern was most likely painted by the Women's Reserve Camouflage Corps. As Bessie Rowland James explained in For God, For Country, For Home (NY: G.P. Putnam's Sons, 1920)—

Tanks, ambulances, and trucks were camouflaged at the request of different branches of the government to encourage recruiting, for wherever the camoufleurs went in their uniforms, spreading their bright paints, a crowd was sure to gather.

US Government photographs (1918), with hypothetical coloring added.

Friday, September 27, 2019

Rockwell Kent | ship camouflage cover reconstructed

Rockwell Kent (1918), magazine cover (reconstructed)
In 2011, Joyce Shiller, who was then the Curator at the Norman Rockwell Museum in Stockbridge MA, posted a brief online article about historic illustrations that portray “dazzle camouflaged” ships from World War I. She included reproductions of two magazine covers (Popular Science and Everybody’s Magazine, both 1918) and a Victory Liberty Loan poster (1919).

I had seen all three before, but the one of particular interest to me was the cover of the December 1918 issue of Everybody’s Magazine. Near the lower-right corner is the artist’s printed signature “Kent.” The cover artist was Rockwell Kent (1882-1971), the well-known American artist, illustrator, and author (see his edition of Melville’s Moby Dick, and his illustrated autobiography, It’s Me, O Lord). 


I first saw his camouflage-themed magazine cover (as I recall) in the late 1990s, when an art historian named Jake Wien (who has written about Kent and others) shared a small-size, low-resolution photograph of a copy he had found. It appeared to be in poor shape, with major surface damage and tattered edges. I later found that its color was substantially different from the one that Schiller reproduced. The color cast of Wien’s copy (as shown below, on left) is emphatically green, while the one in Schiller’s post (below, right) was blue. The other colors are consistent, which may suggest that the printing ink used for the background was fugitive and that one of the copies had been altered by years of exposure to light. If so, the question remains: Was the original background blue or green? Given the well-worn condition of the one that Jake Wien shared, I would guess the original color was blue.

Rockwell Kent magazine cover (two copies, same issue)


Whatever it must be a very rare item. It is possible that no other copies have survived. Over the years, I’ve looked for the issue repeatedly on online vintage magazine sites, in searchable archives, and in library holdings. Probably one of the reasons for its scarcity is that university libraries (maybe most of them) tended to discard the covers of magazine issues before they were bound as a volume. So, in the library that I mostly use, the inside pages of Everybody’s Magazine are intact, but the covers of all of the issues are gone. Fortunately, I recently found a black-and-white scan of the cover and was able to use that as a point of departure in an attempt to digitally reconstruct the full-color cover (as shown above). I chose to use blue as the background. Note that the title in the masthead is restored from the original, but the issue date and price (and Kent's signature) have been replaced with a new, if appropriate, typeface.

That Rockwell Kent would have created an illustration of ship camouflage is of particular interest because (as I’ve discussed in earlier posts), he had been a student of Abbott Handerson Thayer, and a close friend of Thayer’s son, artist and naturalist Gerald Handerson Thayer, both of whom are credited with important early findings about protective coloration in nature. In 1909, the Thayers co-produced (with Gerald as the author of record) a major book on the subject, titled Concealing Coloration in the Animal Kingdom. It had an abundance of illustrations, including collaborative paintings by a handful of Thayers’ family members, students, and friends, one of whom was Rockwell Kent.

Thursday, September 12, 2019

William Penhallow Henderson | Wheelwright Museum

Hosteen Klah (left) and William Penhallow Henderson (c1936)
Franc (née Frances) Johnson Newcomb was born on March 30, 1887, in Jacksonville WI (near Tomah). Her parents were Frank L. Johnson, an architect, and Priscilla (Woodward or Woodard) Johnson, who taught in a Wisconsin school that included Menominee Indian children. Both parents died before Frances had reached her teens. Later, she adopted the professional name of Franc, in tribute to her father, and, in research publications, she is nearly always cited as Franc Johnson Newcomb.

Following high school, she remained in Wisconsin, and taught Menominee Indian children for several years at Keshena. In 1912, partly for health reasons, she moved to New Mexico territory, and taught Navajo children at a government boarding school at Fort Defiance. In one of her books, she recalls the initial resistance of the Indian children when she tried to teach them English. The breakthrough came when she asked them to teach her to speak Navajo, in the process of which they also learned to speak English.

While at Fort Defiance, she met a young trader, originally from Manchester IA, named Arthur J. (known as A.J.) Newcomb. They married in 1914, and went on to operate trading posts on the Navajo Reservation, in remote, isolated regions of northwestern New Mexico. Their primary post was located about halfway between Gallup and Farmington, at a place now known as Newcomb. Their marriage continued for 32 years (they divorced in 1946), during which they raised two daughters, Lynette and Priscilla.

A.J. bought part of the Newcomb Trading Post in 1913 and moved there to learn the business. One of the first Navajos to befriend him was Hosteen Klah, an influential chanter, medicine man, and weaver. When Franc arrived as A.J.’s wife in 1914, she too became a close and long-term friend of Klah. Fifty years later, she wrote a book about his life. While respectful of the rituals and traditions of Native Americans, she also helped them to adapt. When medicinal plants and other remedies were ineffective against diseases brought by Whites, she provided modern medicines, often traveling to remote hogans. She became known as Atsay-Ashon or Medicine Woman. 


Newcomb Trading Post


As Franc Newcomb earned the trust of Hosteen Klah and other leaders, she was gradually permitted to observe rituals that non-Indians had strictly been excluded from. These included sandpainting ceremonies in which symbolic patterns were painstakingly made of colored sand, then promptly destroyed when the ceremony ended. At first, as a silent observer, she memorized features of the sandpaintings, then made drawings afterwards. “Since pencil, paper, or camera were not allowed in the lodge, I had only my memory to depend on,” she later wrote, “…[but] In later years I trained myself to concentrate, and if allowed to remain in a ceremonial hogan for a half-hour, I could reproduce the painting without an error.”

With Klah’s and others’ approval, she gained increasing access and was eventually permitted to replicate about 500 sandpaintings, which she recreated in paint on board. Some Navajos opposed this, condemning it as sacrilege, but Klah consented cautiously. Forty-four of these were reproduced in her first book, Sandpaintings of the Navajo Shooting Chant (1937), while other surviving paintings by her have been preserved and exhibited at the Wheelwright Museum of the American Indian in Santa Fe.

Although she made hundreds of paintings that replicated Navajo sandpaintings, it is unlikely that Franc Newcomb ever considered herself an “artist” in the usual sense. She was a writer and amateur ethno-anthropologist for whom her paintings were a tangible means of preserving sandpainting tradition. She did this in other ways as well. For example, Hosteen Klah had been a weaver of Navajo rugs since the late 1880s. One day, she asked if he might consider weaving monumental rugs (as large as 12-foot square) that would replicate ceremonial sandpaintings. While reluctant at first, he eventually agreed, providing that they would be wall tapestries, not floor rugs to be walked on. 



His first such tapestry was purchased by the wife of King Gillette, who had made a fortune from his invention of a razor with disposable blades, the iconic Gillette razor. Klah’s second rug was purchased by a wealthy heiress named Mary Cabot Wheelwright of Boston, who would establish the Wheelwright Museum in 1937. By the time of his death in that same year, Klah had woven twenty-five large tapestries, based on ceremonial sandpaintings.

A few years after Klah’s death, Franc Johnson Newcomb published a book on Navajo Omens and Taboos (1940), and later co-authored A Study of Navajo Symbolism (1956). In 1964, when she wrote a book about the life of Hosteen Klah, she dedicated it to the memory of her deceased former husband, Arthur John Newcomb, who had died in 1948. He was by then her “ex-husband” because the couple had divorced two years earlier.


Newcomb Trading Poster (October 21, 1921)

A decade before their formal divorce, on May 9, 1936, A.J. was living at their home and trading post. Franc was in Albuquerque, where their daughters were attending school. A news article in the Albuquerque Journal described the devastating fire that destroyed their trading compound and most of their finest possessions that day:


Fanned by a stiff south wind, the whole compound consisting of the Newcomb home, the trading post, the manager’s house, the camp cottages, and the garage were soon ablaze.…One of the loveliest collections of prehistoric pottery in the Southwest, collected by Mrs. Newcomb over a long period of years, was completely destroyed as was her collection of more than 400 pressed specimens of herbs and medicinal plants used by the Navajo medicine men. Also lost was a collection of old ceremonial baskets and hundreds of films of Navajo people and scenes.

A small amount of insurance enabled the post to be partly rebuilt. But the psychological damage was irreparable. According to Franc Johnson Newcomb’s biography in American Women Writers (2000), “When fire destroyed their trading post in 1936, her husband’s alcoholism became actute, straining Newcomb to the breaking point.” She and her daughters moved permanently to Albuquerque, where she established a day-care center for children and a visiting nursing service.

At the same time, she was an active participant in the establishment of the Wheelwright Museum in Santa Fe (where much of Newcomb’s work is housed). Funded by Mary Cabot Wheelwright, with Klah’s consent, the museum building was designed by the celebrated Southwest painter, designer and architect William Penhallow Henderson (who had designed murals for Frank Lloyd Wright for the Midway Gardens in Chicago). Rejected by some as a styllistic oddity when compared with other museums in Santa Fe, it was wonderfully appropriate for Navajo tradition. It is a Modern-style two-story hogan, in which the past and the future are fused. Given its emphasis on geometric abstraction, it may be of additional value to learn that Henderson had served during World War I as a civilian ship camouflage designer in San Francisco.

Helen M. Bannan has said that “Newcomb’s best work is her nonfiction prose blending history, autobiography, and folklore.” Among the finest examples of that is her final book, titled Navajo Neighbors, which was published in 1966, when she was nearly 80 years old. It is dedicated to her daughters.

Franc Johnson Newcomb died in Albuquerque NM on July 25, 1970.

According to Bannan (2000): Although some historians and anthropologists resented Newcomb as an amateur, N. Scott Momaday applauded her realistic portrayals of Navajo life. To Newcomb, Navajos were people, not objects for study. This basic assumption permeates Newcomb’s works, enhancing their value as a record of the personal dimension of intercultural communication.

***

Sources

Bannan, Helen M. “Franc Johnson Newcomb” in American Women Writers: A Critical Reference Guide. Gale Group, 2000.

Franc J. Newcomb, Authoress, Dies Here. Albuquerque Journal. July 26, 1970.

Johnson, Burges. As Much As I Dare: A Personal Recollection. New York: Ives Washburn, 1944.

Lange, Patricia Fogelman. The Spiritual World of Franc Johnson Newcomb. New Mexico Historical Review. Vol 73 No 3, July 1998. Full text is online at <https://www.francnewcomb.org/>. Accessed on September 8, 2019.

Newcomb, Franc Johnson and Gladys A. Reichard, Sandpaintings of the Navajo Shooting Chant. New York: 1937.

Newcomb, Franc Johnson. Hosteen Klah: Navaho Medicine Man and Sand Painter. Norman: University of Oklahoma Press, 1964.

Newcomb, Franc Johnson. Navaho Neighbors. Norman : University of Oklahoma Press, 1966.

Was Founder of MNCA: Mrs. Newcomb dies at 83. Santa Fe New Mexican. August 9, 1970.


•••
Note A talk pertaining to this subject is currently available through the Humanities Iowa Speakers Bureau. In addition, a slightly different version of the above biography of Franc Johnson Newcomb has been shared with AskART.
 

Camoufleuse | The Dazzling of Women at War

Women's Reserve Camouflage Corps painting the USS Recruit (1918)
An important contribution on the social significance of World War I-era camouflage (including its broader relationships to Modern-era literature, visual arts, fashion and gender stereotypes) has recently been published in the journal Modernism/Modernity. Volume 4 Cycle 2. August 2019. Written by Emily James, who is on the faculty at St Thomas University in St Paul MN, the title of the article is "Camoufleuse: The Dazzling of Women at War." Exhaustively researched and stirringly constructed, it is undoubtedly one of the finest essays on the subject. Below is the opening paragraph, ending with an online link to the entire paper—

Modernism and camouflage would seem to be unlikely allies. One advances and the other retreats. One rebels and resists; the other lurks undercover. But during World War I, a group of renegade camoufleurs forged an uneasy truce between modernism's flash and camouflage's muted secrets. Their sources were extraordinary and eclectic. Drawing inspiration from animal behavior, avant-garde design, and women's fashion, the camoufleur—and, as I argue, the camoufleuse—worked to reimagine visibility and warfare in modern terms.…More>>> 

•••

It may be also be of interest that there is now a Wikipedia article on the role of women in WWI camouflage, called "Women's Reserve Camouflage Corps." Also, the full text of our related essay on Chicanery and Conspicuousness: Social Repercussions of World War I Ship Camouflage can also be accessed online.

Saturday, August 31, 2019

Must you be crazy to design ship camouflage?


Detail of John T. McClutcheon cartoon (1918)

Maurice Ketten dreams that he is Maurice Ketten


Eyewitness | WWI dazzle ships not what they seem


Kate Burr, CAMOUFLAGED SHIPS: WHAT THEY SEEM THEY ARE NOT, in Buffalo Times (Buffalo NY) September 4, 1918—

I have seen some of the camouflaged ships which the Government has had painted for war reasons. They were a mile from where I was looking at them, but the glasses were good and brought them near. The three I saw were each one different from the others and gave a different effect to the observer.

For instance, the first of the boats looked like three fastened together and built in some strange elemental fashion with the bow higher than the keel and the middle bulging far over the sides.

It was not any of it so—all the work of the consummate artist in perspective who did the painting.

A little way off the casual onlooker was unable to tell whether the boat was “coming or going.”

The second ship presented the appearance of a battleship bristling and threatening.

The third ship sailed majestically out of the river and so much painted drapery was shown along her sides that I was minded of Tennyson’s Elaine on her flower-decked bier sailing home for her burial place.

The camouflage was complete.

Nobody could tell what was vulnerable, nor what was important, nor where the guns were placed—for though this is a vessel for common carrying, she must be armed we know.

The white body was strangely decorated with blue painting and gray painted, and what was shadow and what was blue water, and what was construction no human eye could determine by its naked strength nor with the help of strong lenses.

It was all wonderful—this camouflage of vessels—this blending of atmosphere and sea and sky.

Turning away in admiration, my eyes sweeping the shore line, discovered an object which lent a little ray of humor in this grim paraphernalia of war.

At one of the private docks belonging to the cottage community was tied a sort of craft which brought us to smiles.

It was a small floating structure about the size and shape of a bathtub, painted in “battleship gray.”

At first sight that was all—but—and then the smiles grew deep—along the sides were wide markings of blue and gray—stripes and festoons and circles and oblongs.

Some imitative lad of seven or ten had persuaded his Daddy to furnish the paint and ingenuity had accomplished the rest.

No warring enemy submarine will seek out this protected craft, which is surely a merchantman—carrying supplies from the mainland to a fairy island where busy and saddened people congregate to forget war for a few brief days before getting into the thick of work for their boys and their government again.…

Wednesday, August 28, 2019

Women camoufleurs Louise Larned and Rose Stokes

 Above Government photograph of an unidentified US Navy Yeoman (F) (or Yeomanette), c1918. Assigned to the Camouflage Section in Washington DC, she is assembling wooden ship models, which were later painted with camouflage schemes, and tested for effectiveness.

•••

Louise Larned (1890-1972), whose married name was Louise Larned Fasick (she married John E. Fasick in 1929), is sometimes confused with her mother, Louise Alexander Larned (1862-1949). Her father was US Army Colonel Charles William Larned (1850-1911), who briefly served with General George A. Custer in the Seventh Cavalry, but is more commonly known for having taught drawing at West Point Military Academy for 35 years.

Both parents were descended from a long line of military officers, and Louise grew up in the vicinity of West Point. She followed her father’s aptitude for drawing, as well as her family's tradition of serving in the military.

At the beginning of World War I, American women were not allowed to officially serve in the military, but they could provide supporting roles as civilians. In an article in the New York Tribune, Anne Furman Goldsmith, the New York chairman of “a proposed camouflage unit of women for service in the United States,” called for women to enroll in the organization. It was planned that they would be trained at a four- to six-week camp by a camouflage expert, and then sail off to duty in France. “There is no age limit for the volunteers,” the article stated, but “they must be physically strong and active, however, and have some knowledge of landscape, mural or scene painting.”

The acceptance of Goldsmith’s proposal was repeatedly delayed (according to the War Department, “it could not spare an instructor”) until the unit was finally established in 1918, with the official title of the Camouflage Corps of the National League for Women’s Service in New York. Louise Larned volunteered in May of 1918 and joined a group that was taught by artist H. Ledyard Towle. Joining at the same time was another woman artist, with strong connections to West Point, Rose Stokes.

After attending the camouflage camp, the women camoufleurs (who were sardonically nicknamed “camoufleuses” or “camoufloosies”) took on other projects, most of which used “dazzle” camouflage to attract larger crowds to recruiting and fund-raising events. Overnight, on July 11, 1918, for example, twenty-four of the women camouflage artists painted a multi-colored disruption scheme (using abstract, geometric shapes in black, white, pink, green, and blue) on the USS Recruit, a wooden recruiting station in Union Square in NYC, built to convincingly look like a ship. Louise Larned and Rose Stokes were members of that painting team.

In September 1918, both Larned and Stokes were assigned to the Navy’s Camouflage Section, where they probably made model ships (to which camouflage was applied for testing) or, as draftsmen, prepared large scale colored diagrams for use by artists at the docks in painting camouflage on the ships.

They had expected to remain on duty until the war’s official end. But the Treaty of Versailles was signed on June 28, 1919, and exactly one month later, newspapers announced that most of the eleven thousand women “yeomanettes” would be discharged early. But certain women were retained, with Larned and Stokes among them. More details were provided by the Pittsburgh Post:

“Among those who will remain are the artist girls who drew dazzle designs for merchant and battleships—those funny zig-zag stripes which made the Germans waste torpedoes and valuable shells on ships which appeared to be ‘going the wrong way.’ The artists today were working on submarine plans and they like the life.

“‘I do wish the newspapers would say we don’t want to leave the navy,’ said Louise Larned, one of the artistic yeomanettes. ‘We want to be part of the service.’

“And Rose Stokes, whose brothers are all West Pointers, wants to ‘be in the navy—not just a barnacle attached to it by civil service rules.’”


Two months later, a woman journalist named Edith Moriarty published an article in the Spokane Chronicle in which she said that, during the war, the government had discovered that women are just as good or better than men at drawing-related tasks, such as drafting charts and diagrams.

She continued: “Two young women who made good along that line are Miss Rose Stokes of New York and Miss Louise Larned, of West Point NY. These girls, who are both artists, enlisted in the navy as yeomen and they were in New York in the camouflage corps studying to go abroad when the armistice was signed. They have spent most of their time while in the service putting in details on specifications and charts for submarines. The girls are so satisfactory at their work that they have been retained by the navy although many of the yeomen have been relieved of further duty.”

It has so far proved a challenge to locate more specific facts about the life of Louise Larned Fasick. One additional finding is that she was the designer of what was known as the “Navy Girl Poster,” which was presumably used to recruit women to serve in the navy.

•••

Update (August 29, 2019) Sorry, haven't yet located an image file for Louise Larned's poster (there are well-known posters by that tag but they appear to have been the work of Howard Chandler Christy). However, we have located three paintings by Louise Larned and one by Rose Stokes. Of the four, three are government paintings of ships (two by Larned, one by Stokes), in public domain, and the fourth is a pastel cover painting for St. Nicholas Magazine (by Larned), dated 1929. They are reproduced below.


Above Louise Larned, Ocean-Going Tug Towing Target Shed (n.d.)



Above Louise Larned, Ship of the Nevada Class (n.d.)



Above Rose Stokes, South Dakota Class Battleship, Concept Drawing (n.d.) [at a cursory glance from a distance, it looks almost identical to the previous Larned painting]


Above Louise Larned, Cover painting for the September 1929 issue of St. Nicholas Magazine.

•••

Sources
Women Artists Asked For Camouflage Unit: Miss Anne F. Goldsmith Wants One Hundred To Train for Service in France. New York Tribune, October 24, 1917.

Camouflage the Recruit: Woman’s Service Corps Redecorate the Landship in Union Square. Washington Post, May 14, 1918.

Yeomen Rejoice; End of Jobs’ Scorn Is Sighted as Yeomanettes Leave Navy; Girls Establish Good Record. Pittsburgh Daily Post (Pittsburgh PA), July 28, 1919.

Edith Moriarty, With the Women of Today. Spokane Chronicle (Spokane WA), September 18, 1919.

Roy R. Behrens, ed., Ship Shape: A Dazzle Camouflage Sourcebook. Dysart IA: Bobolink Books, 2012.


•••

Earlier, I had posted a newspaper photograph of Louise Larned and Rose Stokes (NY Tribune, August 7, 1919) at work drafting plans for submarines. But the picture quality was so poor that I decided to remove it. Nevertheless, the caption for the photograph may still be of interest. It reads: These girls drew submarine plans for the US Navy instead of knitting socks during the war. They enlisted in the navy as yeomen and were in the camouflage corps in New York studying to go abroad when the armistice was signed. Both girls are artists and will be retained by the navy after yeomanettes are relieved. Miss Rose Stokes of New York City is commander of the Betsy Ross Chapter of the American Legion…

Note A somewhat different version of this post has also been provided to AskART.com.

Maurice Ketten | Ye olde striped park bench trick

Tuesday, August 27, 2019

Cubicular camouflage | the blossoming of crazy quilts

Above Still image from a Pathé film titled Rigadin Cubist Painter (1912).

•••

Caught the Cubist Fashion in Baltimore Sun (Baltimore MD), June 22, 1918—

The camoufleur is having engagements at this port changing the appearance of the local fleet of steamers that enter the war zone declared by the U-boats on this coast. One arrived yesterday from the south so completely disguised by the cubist artist as not to be recognized by agents of her line. Others belonging here are being camouflaged.

•••

Anon in Sioux City Journal (Sioux City IA), August 29, 1921—

Little is seen or heard nowadays about the writers of vers libre ["free verse"] or the cubist artists. Maybe they have gone where they belong—to Camouflage.

•••

PARIS PUTS ARTISTS IN ARMY TO CAMOUFLAGE TRUCKS, TANKS, CANNON: Cubists, Surrealists and Futurists Put Fantastic Designs and Theories Into Practice in the Scranton Times-Tribune (Scranton PA), September 22, 1939—

Cubist, surrealist, modernist, futurist, realist, and naturalist painters who once cluttered Montparnasse terraces are in the army as camouflage artists.

Canvases and theories have been put aside. Long-haired, bearded, shabbily-dressed dreamers have left attics to become clean-shaven, neatly-dressed army men.

Trucks, tanks, armored cars, motorcycles, cannon and staff cars are blossoming with fantastic crazy-quilt designs done in reds, blues, greens, and ochres. Many-schooled cafe arguments have turned into a joint pooling of ideas to befuddle the enemy.

•••

Says "Abstractionist" Painter Should Make Camouflage Experts, in Mason City Globe Gazette (Mason City IA) January 8, 1942—

[Laszlo Moholy Nagy, founder and director of the New Bauhaus school in Chicago], addressing a Drake University audience [yesterday in Des Moines], explained:

"The cubist painters' angular pictures often are the most confusing thing in art to the layman and they are the most talented to turn out camouflage which will confuse the enemy."

"White outs," a system of confusing enemy planes by careful illumination and reflections, would be much more effective than black outs, he declared.

Wednesday, August 7, 2019

A camouflaged cure for a morning hangover

Below This camouflage cartoon by American artist Walter Hoban (1890-1939) was featured in his comic strip Jerry on the Job. It was published in the Oregon Daily Journal (Portland OR) on August 16, 1917.



A CAMOUFLAGE DRINK in the Times-Tribune (Scranton PA) on December 11, 1917—

Making the morning after seem like the night before is the mission of the camouflage, the newest drink. Camouflage, as every student of the war knows, means "making things seem what they ain't." Thus the camouflage looks like a glass of milk, but has the far different effect so much desired on cold, gray mornings. In a word it is a "pick me up" that no man need blush to order after he gets into his working clothes. It is composed as follows: One-half jigger of apple brandy, a half jigger of dry gin, white of an egg, tablespoon of cream and a pinch of powdered sugar. The mixing glass should then be filled with cracked ice, the contents shaken well and strained into a small tumbler. Take two of these and, it is said, one hears sweet music; three and one grabs the next ship for the land of hot dogs, limburger and sauerkraut to take a wallop at the kaiser.

•••

CAMOUFLAGE in the Bridgeport Times and Evening Farmer (Bridgeport CT) on October 13, 1917—

If I could use war tactics,
Said the football player fellow,
I'd camouflage the pigskin
By painting it bright yellow;
We'd then fool our opponents,
And win the game hands high,
'Cause they'd think we had a pumpkin
And were going to make a pie.

Sunday, August 4, 2019

Chicago camouflage artist's wife held for shoplifting

Above World War I-era embedded figure puzzle as published in the St Joseph Daily Press (St Joseph MO), April 16, 1915. Artist unknown.

•••

FINDS MISSING WIFE IS HELD AS SHOPLIFTER in Sioux City Journal (Sioux City IA), April 25, 1922—

Chicago, April 24—A three days' search for a missing wife ended when her husband discovered her in the house of correction serving a 10 days' sentence as a shoplifter.

The women is Mrs. Lilian Norman, 22. Her husband, Frank, is well known as a professional skater, having appeared in the College Inn and other places of entertainment. He is also a commercial painter and during the war was a camouflage artist.

They were married a year and a half ago, and until a month ago they resided in Kansas, which state was the birthplace and home of Mrs. Norman. Four weeks ago they came to Chicago. 

Norman believes his wife innocent of the charge of taking a piece of cloth. He says some professional shoplifter, near capture, thrust it in her handbag.

Brokerage proclivities applied to auto camouflage

Ambulance camouflage in New York (1918)
Harry K. Taylor was a college-age, self-assured scion from Hartford CT, who described himself as “a man with brokerage proclivities and tobacco-raising tendencies.” Having volunteered for service in World War I, a lengthy ordeal was required before it was determined in which capacity he should serve (he eventually ended up at a wartime secretary for the YMCA). He reported this in disdainful detail in three Sunday installments in the Hartford Courant, the first one on July 14, 1918, titled ON THE FIRING LINE WITH A HARTFORD YMCA SECRETARY. Here is a brief excerpt that describes his short-lived lame attempt at vehicle camouflage

Then someone thought up a simple job, that of camouflaging a Ford. I had no overalls but applied and was accepted. Camouflage is so perfectly ridiculous and the paint is applied in such a haphazard fashion that even a college professor or a minister can do that. I turned my attenuated uniform inside out and tackled the car with teeth gritted. Some days later I encountered this car in Tours, not on tour, and felt so ashamed of its appearance that I wanted to hide behind a cathedral. It would have mortified a Cubist or Futurist.

Saturday, August 3, 2019

Cartoonist Cliff Sterrett | Camouflage Catastrophe

Below This camouflage cartoon by American artist Cliff Sterrett (1883-1964) was featured in a comic strip series called Polly and Her Pals. It was published in the Bridgeport Telegram (Bridgeport CT) on September 26, 1918.



Tuesday, July 30, 2019

Cartoonist Walter Hoban | Jerry's Dog is Camouflaged

Below This camouflage cartoon by American artist Walter Hoban (1890-1939) was featured in a comic strip series called Jerry on the Job. It was published in the South Bend News Times (South Bend IN), July 28, 1917.


Monday, July 29, 2019

WWI Cartoon Search for Slackers and Draft Dodgers

Above This camouflage-themed cartoon was distributed in the US by the Bell Syndicate. It appeared in the Pottsville Republican (Pottsville PA), January 31, 1918. The signature is less than clear, but it was probably created by a California-based cartoonist named Edmund Waller Gale Jr. (1884-1975).

Friday, July 19, 2019

Camouflage Artist | John Dwight Bridge

Portrait of a Lady in a Red Dress by J. Dwight Bridge (n.d.)
J(ohn) Dwight Bridge was born on December 9, 1893, in St. Louis MO, where his family was socially prominent, wealthy and influential. His ancestors had been among the founders of Washington University. Having moved from Walpole MA to St. Louis, his family “made a fortune” from the railroad and the manufacture of cast-iron stoves.

Dwight attended a prestigious private school in Pawling NY. He then went on to study art at the Art Students League in New York, where he worked with painter, muralist and interior designer Albert Herter, whose father had co-founded the Herter Brothers interior design firm in New York, and whose son was Christian Herter, Secretary of State in the Eisenhower administration.

In 1917, having returned to St. Louis, Bridge announced his intention to “give up his career in art to enter the Episcopal ministry.” But when the US entered World War I, he decided instead to enlist as a camouflage artist. In September 1918, when the US Army formed its first camouflage unit, he was among the first to enlist, along with fellow artists Barry Faulkner (Abbott H. Thayer’s cousin), Sherry E. Fry, William Twigg-Smith from Hawaii, and Everit Herter (son of Albert Herter), who had only recently married.

Appointed Sergeant Major (and soon after First Lieutenant), Bridge was the highest-ranking non-commissioned officer of the group. He shared a tent with the unit’s leading commissioned officer, Lieutenant Homer Saint-Gaudens, the son of Augustus Saint-Gaudens, the celebrated American sculptor. After months of training at Camp American University in Washington DC, the camouflage unit (officially known as Company A of the 40th Engineers) departed for France at the end of December 1918. In the subsequent months at the front, two members of the unit died in action, including Everit Herter, who was killed at Chateau-Thierry. Following the war, Bridge lived in Paris, then resettled in New York.

In 1918, five weeks before her husband's death, Everit Herter's wife had given birth to a son named Everit Herter Jr., who never saw his father. Around 1920, Dwight Bridge relocated to Santa Barbara CA, where his former teacher Albert Herter had established a new permanent studio at his mother’s former estate, called El Mirasol. Bridge married Everit Herter’s widow, Caroline Keck Herter, and thus became the stepfather of Everit Herter Jr. In July 1919, the Herters’ second son, named Albert, died in Santa Barbara at the age of two years and ten months. In their early years of marriage, Dwight Bridge and Caroline Herter Bridge became parents of two of their own sons, Matthew and John Jr.


J. Dwight Bridge (c1933)
In the 1920s, Bridge’s marriage fell apart. After several years of estrangement, he and his wife obtained a divorce in 1933. At about the same time, Bridge’s father died in St Louis, and he was slated to receive an inheritance of about $100,000 (worth nearly two million dollars today). In newspaper interviews, he revealed that he would refuse to accept it, saying that “an inheritance is more of a hindrance than a help.” Instead, he gave the money to his former wife and their children, and announced that henceforth he would survive as what he called a “vagabond” or “hobo”  artist.

He decided to hitchhike somewhat aimlessly around the country (his travels would take him as far as Japan and China) all the time earning his living by painting portraits. Carrying few possessions and almost no money, he began his trek in Salina KS, “the geological center of the United States.” According to a 1933 newspaper story (of which there were many, since his story was rightly regarded as odd, even bizarre), having arrived at Salina at 9:30 in the evening, he “laid all his money—30 cents—and his half-filled package of cigarettes down on the station platform, buried his wedding ring and, although it was night, immediately began a search for employment. He was 40 years old.” He was allowed to sleep in jail that night, and, in the morning, began to hitchhike west, earning his meals and lodging by various means. He was, he explained to reporters, “a man from the East, without any funds, a painter who could whitewash fences and paint doors, portraits or murals.”

The news stories bore fruit. After trading pencil portraits of meals, he was soon receiving commissions for portrait painting. The first was for $200, but he gradually raised the price to $500. On his trip to Japan, where he had eight commissions, he stopped over in Hawaii to see his former fellow camoufleur, William Twigg-Smith, whose relatives owned the newspaper there. From Hawaii, he flew back to the US mainland, then resettled in New York, while also continuing to travel around, from city to city, painting portraits of the rich in Philadelphia, Pittsburgh, Dayton OH, San Francisco, Palm Beach, Colorado Springs, and elsewhere.

In a 1946 article in the Palm Beach Post, there is a pencil portrait of US Navy Captain Martin L. Marquette, who was then the commanding officer of the Naval Special Hospital (about to be closed) in Palm Beach. The drawing, the article explains, “is the work of J. Dwight Bridge, portrait artist and veteran of both World War I and II, to whom the closing of the hospital will signal a return to civilian life. During the past few months, while recuperating at the hospital, Mr. Bridge as part of his rehabilitation work has got his hand back in sketching by doing 90 portraits of the staff and patients at the hospital...During the war [WWII] he engaged in camouflage work in the AAF [Army Air Force] along similar lines he followed for the engineers in the previous war.”

Three years earlier, one of the Bridges’ sons, John Dwight Bridge Jr, (born 1920), had been killed in action while serving with the US Navy in the Mediterranean.

John Dwight Bridge Sr. died in Palm Beach FL on October 22, 1974.

***

Sources

Evelyn Burke, “‘Hobo Artist’ Paints Society Folk But He Doesn’t Like Money” in Pittsburgh Press, May 2, 1935.

“Capt. M.L. Marquette” in Palm Beach Post (Palm Beach FL), February 3, 1946.

Helen Clanton, “Hitch-Hiking as a Form of Service” in St. Louis Globe Democrat, January 13, 1936.

“Noted Artist Says Fighting Elements Provides More Thrills Than Many Sports” in Dayton Daily News (Dayton OH), April 15, 1936.

“St. Louisan in Camouflage Unit of US Army Home” In St. Louis Post-Dispatch, February 15, 1919, p. 5.

“St. Louisan Who Paid Way Around World as Painter and Portrait He Made” in St. Louis Post-Dispatch, December 19, 1933.

Wednesday, July 17, 2019

Camouflage Artist | Stephen Jerome Hoxie

Above (and in additional photos below) USS Henderson, painted in a camouflage scheme designed by Stephen J. Hoxie (c1918).

•••

Stephen Jerome Hoxie (1895-1981) was born in Warwick RI in 1895. He studied art at the Rhode Island School of Design for two and a half years. He commonly signed his paintings as S. Jerome Hoxie. He is sometimes mistakenly cited as Stanley Jerome Hoxie.

He married Jessie Isabella Sanders about 1920. They had three children: Jean Maybell, Jerome Ward and Joseph Sanders. According to an online post by one of his descendants, he abandoned his wife and children “on an island off Martha’s Vineyard in 1926.” Somewhat later, he married again.


Earlier, during World War I, he had worked with the US Navy and the Emergency Shipping Board in the development of camouflage for merchant ships. There is a label on a lantern slide belonging to Everett L. Warner (who oversaw the artists at the Design Subsection of the Navy’s Camouflage Section) that states that Stephen Hoxie designed the camouflage for the USS Henderson. That he worked with Warner is also confirmed by a news article in The Evening Post Magazine (New York) in 1919, which lists Hoxie as one of the artists who assisted Warner.

In online notes about his life, it is commonly stated that “He did a study of color at the Eastman Kodak Research Laboratory.” If true, this may have taken place during the war, while he was a camoufleur. While the Design Subsection was in Washington DC, there was also a Research Subsection at the Eastman laboratory in Rochester NY (staffed mostly by physicists, not by artists). He may have researched color there.


After the war, during the Depression era, Hoxie was hired by the WPA (Works Progress Administration) to make detailed colored gouache paintings (for the purpose of documentation) of examples of clay vessels and other craft artifacts, as part of a government project called the Index of American Design. He seems to have made around 82 of these, some of which are now housed in the archives of the National Gallery of Art, and can be accessed online. These are signed and dated, c1935-1936. Other works are said to be in the Mystic Seaport Museum.

Stephen J. Hoxie painting for Index of American Design (1936)

 
He illustrated at least two books: Jessie Weems Brown, Stonington Cooks and Cookery (Pequot Press, 1949), and History of East Greenwich, Rhode Island 1677-1960 (1960). He also designed a series of at least eight illustrated maps of various Connecticut counties, as published by the CT League of Women Voters in 1934 and 1935. A portion of his map for Hartford County was reproduced in the Hartford Daily Courant in 1935. The article notes that “S. Jerome Hoxie of Mystic did the pen and ink sketching and lettering, working first with a pencil under a microscope…”

Stephen J. Hoxie illustrated map (c1935) detail 

In 1966, a highway observation site on Interstate 95, near Mystic CT, was named in his honor and is now officially known as the Hoxie Scenic Overlook.

He died in Stonington CT in 1961.

“New Field for Camoufleurs” in The Evening Post Magazine (New York), May 24, 1919, p. 3.
 “Historic Highlights of State Recorded on Pleasing Maps” in Hartford Daily Courant (Hartford CT), May 26, 1935.
 “Hoxie Overlook” in Hartford Courant (Hartford CT), July 8, 1967.