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| Painting by Frederick Rhodes Sisson (c1920-21) |
Amherst College is to hear lectures on camouflage in the Plant Protection School. Frederick R. Sisson, instructor of drawing and painting at the Rhode Island School of Design, who has been conducting a course in camouflage there, to which students of Brown University are admitted, has been chosen for the task. Mr. Sisson acts also as critic of the Providence RI Journal.
We have mentioned Frederick Rhodes Sisson (1893-1962) in two earlier blog posts, here and here, in connection with his role as a studio assistant (one of three) to the well-known American painter Abbott Handerson Thayer. The other two assistants, in the last years of Thayer’s life, were Henry O’Connor, and David O. Reasoner, who would later become Thayer’s son in law, and who was a civilian ship camoufleur during WWI.
It is of particular interest to learn that Sisson lectured on camouflage at Amherst and RISD, since Thayer is regarded as a pioneering expert on protective coloration and natural camouflage, and is commonly referred to as the “father of camouflage.”
Sisson had two connections with RISD. Having grown up in Providence, he was a student at RISD prior to World War I, and then returned to teach there from 1924-1952. He was also an art critic for the Providence Journal from 1932-1950. When he retired in 1952, he moved to Falmouth MA, where he died ten years later.
RISD is at the center of this for another reason, as we have discussed in earlier posts. The Fleet Library at RISD is among the leading archival resources for the research of ship camouflage. One of the WWI American ship camoufleurs, who oversaw the painting of ships in the harbor, was an artist named Maurice L. Freedman. When the war ended in 1919, Freedman entered RISD as a student, and while there, he gave the art school his set of 450 color lithographic plans for American ship camouflage. It is a rare and remarkable resource. More information about it is here.
We also bring this up because, in recent years, there was an online notice about the sale of a painting attributed to Sisson (reproduced above), unsigned and undated, but stamped as part of his estate. It was labeled on the online post as a “3/4 portrait of Abbott Thayer in his later years.” I myself find it hard to believe that this is a portrait of Thayer. Sisson was presumably a capable painter. Indeed, among his responsibilities while working in Thayer’s studio was that of being able to make accurate copies of paintings that Thayer had started. This would then enable Thayer to complete his original painting, as well as apprentices’ copies, in differing ways, without spoiling the original effort.
Knowing that, one would expect a Sisson portrait of Thayer to be a convincing likeness of its aging sitter—which it is to a certain extent. What then is wrong with this picture? The most glaring problem is the hair. Thayer had begun to grow bald at a fairly early age. He had no hair on the top of his head, which prompted his children to refer to him as Shakespeare. Indeed, his bald pate was so hairless at top that his children amused themselves (and him) by standing behind and above him and painting faces on his head. So, one is led to wonder about the indentity of the sitter. The elderly man in the portrait has a receding hairline—that’s for certain—but he is far from bald on top and back.
