Showing posts with label German camouflage. Show all posts
Showing posts with label German camouflage. Show all posts

Tuesday, March 10, 2026

WWI hogshead on a tip-cart / deceptive artillery mimic

Above
Two-part illustration that accompanied the article printed below. The signed pen-and-ink illustration in the background appears to be the work of American artist Edith Magonigle (1877-1949), whose interesting life deserves full recognition.•• To start, see "Edith Magonigle and the Art War Relief" by Tal Nadan, New York Public Library. Her husband was the architect Harold Van Buren Magonigle, in whose Wikipedia article, she is simply cited as Edith and her maiden name, Edith Marion Day. 

The photograph of a German soldier has been restored from a poor quality newspaper photograph using AI software. We might also mention that René Bache, author of the article, was a prolific news journalist and author during WWI. He was also the Great-Great-Great-Great Grandson of Benjamin Franklin. Despite his family distinction, his articles on camouflage should be read with caution, as they may not always be fully accurate.

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René Bache, POPULAR SCIENCE: Camouflage—The Art of Deceit in Warfare, in The Catholic Press (Hartford CT), November 19, 1917—

To deceive the eye of the enemy is no new thing in warfare, but in the present conflict it has become for the first time an important and even vital element of tactics. The new war word "camouflage" covers a wide range, from optical illusions to expedients for obtaining invisibility.

An example of the former is shown in the accompanying photograph, which represents a "fake" German forty-two-centimeter mortar in the Argonne forest. It is a hogshead mounted on a tip-cart; but an enemy aviator flying overhead would almost certainly mistake it for a big gun.

On the sea "camouflage" is of not less importance than on land. Some of the German U-boats disguise themselves as sailing vessels. As for ourselves, particularly with the object of defeating the Hun submarines, we are using all of our famous Yankee ingenuity in developing this new and curious art.

The Government is requiring all American merchantmen to carry apparatus with which to make a defensive smoke-screen, in case of submarine attack. To the imagination, such a screen figures itself as a cloud of dense black smoke. The fact is quite different. The so-called "smoke" is white.

It is the smoke of burning phosphorus, set afire on the vessel's deck in so-called "funnels"—contrivances of small size, but resembling in shape the ordinary, wide-mouthed ship's ventilator. Each funnel is provided with a draft opening, to make combustion rapid, and it gives out enormous volumes of what looks like white fog.

Were you ever in a thick fog at sea? If so, you will understand that, at a distance of only a few yards, it makes an object absolutely invisible. The white phosphorus fog, indeed, is much better for "camouflage" purposes than a screen of black smoke because in itself It has no visibility. It is simply obscuration.

This, however, is not the only method utilizable for the purpose. If preferred, the ship captain may take along with him a number of wooden boxes, each a foot high and two feet square, perforated with holes. These boxes contain a certain compound, a principal ingredient of which is common black gun powder.

Suppose an attack by a U-boat. Several of the boxes are at once thrown overboard. The seawater admitted through the holes, sets the stuff on fire (by chemical action), and dense clouds of a yellowish-gray smoke are thereby liberated, concealing the ship from the enemy's view while she steams away.

There can be no question of the fact that this smoke-screen defense is destined importantly to minimize the destruction of American cargo carriers from this time on. It is bound to prove immensely useful for the protection of our troop transports and supply ships.

But another requirement imposed by the Government is that our merchant ships shall be painted in such fashion as to render them invisible. This problem has already been solved in a really marvelous way by the adoption of certain methods based on familiarly known optical principles—one of several schemes being to paint the vessel with a series of longitudinal stripes of the various colors of the rainbow. The stripes are rather narrow and of wavy form. At a distance of a mile, a ship thus adorned literally fades out of sight.

Saturday, October 30, 2021

the deserved jot / a decided if non-dazzling personality

WWII German ship camouflage
Above Dutch photograph of a World War II, dazzle-camouflaged German ship (1944). Hypothetical colors applied, using AI, it should not be assumed to be historically accurate. Note that the camouflage application had not yet been completed.

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John Walker Harrington, HART, THE RELENTLESS SCRUTINIZER OF AMERICAN PORTRAITS: He destroyed some illusions, but he helped to increase the fame of our early artists, in The New York Sun, August 8, 1918—

Charles Henry Hart, sharp of eye and agile of wit, never gave up an opinion once formed on full investigation, and he was beloved and hated according to the way his views chanced to square or clash with those with whom he came in contact. As one who knew him, I am venturing to write these lines about him because nobody misunderstood him, and therefore, taken all in all, he was a most unpopular man. There is danger, owing to his decided personality, and also because in these days art has given way to dazzle and camouflage, that the great service which this man did for American art will be forgotten for a time. Likewise, fifty years from now there is no likelihood of posterity neglecting to give every jot of credit he deserved to Charles Henry Hart. [As of today, it has been over one hundred years since Harrington wrote this, and there is neither hide nor hair of Hart—nor of Harrington.]

Saturday, September 11, 2021

Franz Marc as a WWI German artillery camoufleur

Franz Marc, Animals in a Forest
Above Franz Marc, Animals in a Forest (1914). In earlier paintings by Marc, figures are easily distinguished from their backgrounds. As his work evolved, animals and landscapes increasingly merged, progressing toward embedded figures

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Tim Newark, Camouflage. London: Thames and Hudson, 2007, p. 68—

[During World War I, the German army] recruited artists to disguise their weaponry. The most famous of these was Franz Marc, an Expressionist painter who served initially as a cavalryman. He wrote a revealing letter to his wife in February 1916 in which he told of the creative pleasure he derived from painting military tarpaulins by adapting the styles of great modern painters.

“The business has a totally practical purpose,” said Marc, “to hide artillery emplacements from airborne spotters and photography by covering them with tarpaulins in roughly pointillistic designs in the manner of bright natural camouflage. The distances which one has to reckon with are enormous—from an average height of 2000 meters—enemy aircraft never flies much lower than that…I am curious what effect the ‘Kandinskys’ will have at 2000 meters. The nine tarpaulins chart a development ‘from Manet to Kandinsky.’” 

Franz Marc (1910)

 

SEE ALSO

Nature, Art, and Camouflage (35 min. video talk)

Art, Women’s Rights, and Camouflage (29 min. video talk)

Embedded Figures, Art, and Camouflage (26 min. video talk)

Art, Gestalt, and Camouflage (28 min. video talk)

Sunday, July 10, 2016

Dazzle Ship Camouflage Continued in WWII

USS Vestal (1944)
Above Nearly everywhere on the internet, whether in online articles or blog discussions, it is claimed over and over again (as if that would make it true) that the use of dazzle designs for ship camouflage was discontinued after World War I. But that's not the case at all. While the styles of camouflage evolved (as happened in WWI as well)—and while the term for such patterns was changed from "dazzle" (in part because that term was British) to "disruptive" or "pattern" camouflage"—the use of high difference camouflage schemes continued on both sides of the conflict until the end of WWII. In the US, this was no doubt partly due to the fact that the same American Impressionist artist (Everett Longley Warner) oversaw the production of dazzle designs in both World Wars. 

The photograph above, for example, is not from WWI. It's a camouflaged American ship (the USS Vestal), photographed on September 8, 1944, near the end of WWII. True, this particular design is not typical of US ship camouflage at the time—not because it's disruptively patterned but rather because it's so "squiggly" and non-geometric. In fact, in the overwhelming density of its disruption, it seems more reminiscent of certain German camouflage for minesweepers from the same time period.

The USS Vestal was used in both World Wars (in fact it was one of the ships that was damaged during the attack on Pearl Harbor). As a result, we have the opportunity to compare this ship's WWII camouflage (above) with its earlier camouflage scheme from WWI (below).

USS Vestal (1918)

Postscript As of 10Aug2016, we have received this information from Aryeh Wetherhorn—

The WWII pattern was called Measure LC. It was a random pattern of Black, Brown, and 3 shades of Green. It was used primarily for amphibious ships, but also for support ships that might be viewed against a jungle island background.

Saturday, November 28, 2015

German Ship Camouflage (Tarnung)

Camouflaged WWII German minesweeper
Above (and below) photographs of disruptively patterned WWII German ships (called Sperrbrecher) used for detecting enemy mines or minesweeping (c1941). One often hears that disruptive ship camouflage was all but phased out in WWII, or that the patterns were more restrained than previously, but some German ships (such as minesweepers) were conspicuous deviations from that. Comparable examples can also be found in German WWI ship camouflage.

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Anon, CAMOUFLAGED SHIP AND FREIGHTER COME CLOSE TO COLLIDING IN RIVER, in The Republican-Journal (Ogdensburg NY), August 23, 1918, p. 8—

A camouflaged ship, en route eastward on the St Lawrence River, and a large freighter bound westward, narrowly escaped collision near Brockville [NY] about 6 o'clock Tuesday evening. The proper signals were sounded, it is stated, but for some unknown reason they were misunderstood.

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Anon, CAMOUFLAGE WOULD SAVE SHIP, in The Pulaski Democrat (Pulaski NY), September 17, 1919, p. 6—

A submarine can spot a ship five miles away, estimate its course, submerge and later intercept it. But this ship might have a keel painted fifty feet down its side and the actual keel blocked out. This would give it the appearance of traveling in a course that was quite off the actual course. The calculations of the submarine would be quite wrong and the ship would not be intercepted at all. It would be saved by the deception of its camouflage.



Tuesday, April 28, 2015

Painting White Horses for Camouflage During WWI

German horse-painting (c1915)
A couple of years ago, we posted a photograph of French soldiers applying dark coloring to a white horse, to make it less conspicuous. Later, we discovered other references to the same practice, as well as a wonderfully funny cartoon from Life magazine. It was also used by the American Army  (during the same time period) in its military activities on the US-Mexican border. In our earlier posts, we expressed concern about the harm that might result to the horse, since the pigment that was used was potassium permanganate (aka permanganate of potash or Condy's crystals). As we noted, "Among US soldiers during WWI, it was used twice daily as an irrigation in treating gonorrhea. Today, it is used in connection with eczema, blisters and athlete's foot—and in rocket propellent." It turns out that this horse-painting was practiced by not only the Allies but also by the Germans. There is a photograph (above) from a wartime issue of Scientific American (February 6, 1915) that shows a horse being painted by German soldiers.

Near the end of the war, it was still being practiced, as evidenced by this excerpt from an eyewitness article in the Saturday Evening Post (September 21, 1918, p. 52)—

At five a.m. we rose and went to the railway, where we saw the beloved regiment, in the midst of which we had lived so many years, entrain. Perfect order prevailed, though the embarkation took several hours. Each squadron occupied a train. Freight cars fitted up for soldiers and horses; platform cars for baggage and provisions; and at the end a car or two, second class and far from clean, for the officers, doctors, and so on. A most curious sight were the horses belonging to the regimental band. It was a tradition of the regiment that though the other soldiers were all mounted on bay horses the band should ride pure white steeds. With the new ideas of warfare these animals became a danger to their unit, and had been dyed for safety in olive brown. This was their first appearance in their disguise; and their comrades in the four squadrons did not recognize them and made a dreadful fuss, showing such desire to avoid the poor painted creatures that the latter felt insulted, and regarding themselves as victims of a ridiculous mistake they lost no opportunity of protesting. Their humiliation turned them timid and fractious, and it took time and persuasion to get them into their cars. Everyone rushed to help; and officers as well as soldiers were amused at the result of this first essay at camouflage, which came as a diversion to our strained feelings.

Update: Yesterday we ran across a clearer, albeit edited version of the photo we posted in 2015. See image below. We found it in the Christmas issue of Le Miroir (No 56), 1917, p. 14. Not certain if soldiers are German or French.


Thursday, February 14, 2013

Models by Jim Baumann & Wolfgang Kring

Model of the HMS Furious © Jim Baumann

Some time ago, in earlier posts, we featured the amazing work of two ship modelers, Jim Baumann (from the UK) and Wolfgang Kring (from Germany). They have since supplied us with other examples of models bearing camouflage. Above (bottom) is a photo of the port side of Baumann's model of the HMS Furious, as dazzle-painted during World War I. Above that is a contemporaneous photograph of the opposite side of the same ship. Although there are some color photographs from those years and even before, there are no color photographs of camouflaged ships.

The photos below are details of a model by Wolfgang Kring of a bizarre WWII camouflage plan that was applied to the German battleship the Tirpitz while it was being fitted out at the Kriegsmarine Werft, at Wilhelmshaven, Germany (c1939). Positioned in front of a section of buildings, the ship's camouflage was an attempt at mimicryit was painted to resemble the brick walls, windows, doors and other features of the buildings behind it.

Model of the Tirpitz © Wolfgang Kring