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painter of "ideal figures", in which he portrayed women as embodiments of virtue, adorned in flowing white tunics and equipped with feathered angel's wings. At the same time, he did this using methods that were surprisingly unorthodox, such as purposely mixing dirt into the paint, or (in one instance at least, according to
759:. In his letters, he described it as "the Abbott pendulum", by which his emotions alternated between the two extremes of (in his words) "all-wellity" and "sick disgust". This condition apparently worsened as the controversy grew about his camouflage findings, most notably when they were denounced by former U.S. President
684:(1909), which had taken seven years to prepare, was credited to Thayer's son, Gerald. At about the same time, Thayer once again proposed ship camouflage to the U.S. Navy (and was again unsuccessful), this time working not with Brush, but with Brush's son, Gerome (named in honor of his father's teacher).
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Thayer was largely surrounded by women, be they his family, housekeepers, models or students. Biographer Ross
Anderson believed that in his mind "feminine virtue and aesthetic grandeur were inextricably linked"; Thayer felt that the press and even other artists contributed to the degradation of women
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Eccentric and opinionated, Thayer grew more so as he aged, and his family's manner of living reflected his strong beliefs: the
Thayers typically slept outdoors year-round in order to enjoy the benefits of fresh air, and the three children were never enrolled in a school. The younger two, Gerald and
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Life became all but unbearable for Thayer and his wife during the early 1880s, when two of their small children died unexpectedly, one year apart. Emotionally devastated, they spent the next several years relocating from place to place. Although he was not yet secure financially, Thayer's growing
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proposed the use of protective coloration on
American ships, using countershading. The two artists did obtain a patent for their idea in 1902, titled "Process of Treating the Outsides of Ships, etc., for Making Them Less Visible", in which their method is described as having been modeled on the
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It is difficult to categorize Thayer simply as an artist. He was often described in first-person accounts as eccentric and mercurial, and there is a parallel contradictory mixture of academic tradition, spontaneity and improvisation in his artistic methods. For example, he is largely known as a
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in Boston, where he met Henry D. Morse, an amateur artist who painted animals. With guidance from Morse, Abbott developed and improved his painting skills, focusing on depictions of birds and other wildlife, and soon began painting animal portraits on commission. He also taught his sister,
608:. Beginning in 1892, he wrote about the function of countershading in nature, by which forms appear less round and less solid through inverted shading, by which he accounted for the white undersides of animals. This finding is still accepted widely, and is sometimes now called
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Doubtless my lifelong passion for birds has helped to incline me to work wings into my pictures; but primarily I have put on wings probably more to symbolize an exalted atmosphere (above the realm of genre painting) where one need not explain the action of the
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After her father died, Thayer's wife lapsed into an irreversible melancholia, which led to her confinement in an asylum, the decline of her health, and her eventual death on May 3, 1891, from a lung infection. Soon after, Thayer married their long-time friend,
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Behrens 2009. Behrens wrote "Thayer outlived World War I, and died in 1921. Impaired by bipolar disorder, or in his words, 'the Abbott pendulum', that swung between the two extremes of ‘allwellity’ and ‘sick disgust’ (Meryman 1999), at the end he had grown
667:, both collaboratively and separately. Early during that war, for example, Brush developed a transparent airplane, while Thayer continued his interest in disruptive or high-difference camouflage, which was not unlike what British ship camouflage designer
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by emphasizing their sexuality, rather than exalting their moral attributes. When he began to add wings to his figures in the late 1880s, he was making more obvious the transcendent qualities he saw in the female subject:
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152:, he enjoyed a certain prominence during his lifetime, and his paintings are represented in major American art collections. He is perhaps best known for his 'angel' paintings, some of which use his children as models.
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Thayer exclaimed in a letter that patrons unwittingly commissioned fashionable portrait artists, "whore-painters", who were "stone blind to any attribute except fuckableness!" Anderson 1982, p. 22.
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offered him an honorary degree in 1916, and the
Carnegie Institute in Pittsburgh mounted an exhibition of his work in 1919 that included over fifty paintings. The view from his home of
536:, who, while not a formal pupil, was invited to paint alongside the older artist in 1886, and wrote "Thayer's the first great man I ever knew, and I can't quite get used to it."
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285:, and continued refining his skills as an animal and landscape painter. In 1875, after having married Kate Bloede, he moved to Paris, where he studied for four years at the
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771:. Thayer continued to paint, but was compelled to stop working for weeks at a time due to nervous exhaustion. In an effort to avert suicidal thoughts, he sought help at a
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A photograph of a countershading study conducted by Thayer. The model on the left is camouflaged and visible whereas another on the right is countershaded and invisible.
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367:. He and his second wife spent their remaining years in rural New Hampshire, living simply and working productively. In 1901, they settled permanently in
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From the guide to the Abbott
Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950), (Archives of American Art, Smithsonian Institution)
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767:(which he termed "fright-fits"), nervous exhaustion, and suicidal thoughts, so much so that he was no longer allowed to go out in his boat alone on
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469:. The wings were nailed into a board, in front of which his daughter Mary stood. The poignancy of Thayer's imagery was found wanting by art critic
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232:. In that rural setting, he became an amateur naturalist (in his own words, he was "bird crazy"), a hunter and a trapper. Thayer closely studied
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Thayer was resourceful in his teaching, which he saw as a useful, inseparable part of his own studio work. Among his devoted apprentices were
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407:, for permission to collect specimens of birds from the cliffs at St Ives. During this latter part of his life, among Thayer's neighbors was
699:, though he was too anxious to attend the meeting in person. Meanwhile, Thayer and Gerome Brush's proposal for the use of countershading in
277:. He met many emerging and progressive artists during this period in New York, including his future wife, Kate Bloede and his close friend,
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Thayer is sometimes referred to as the "father of camouflage". While he did not invent camouflage, he was one of the first to write about
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Despite rapid changes in the art world in the early 20th century, Thayer's reputation remained strong. He was an early member of the
978:"A Finding Aid to the Abbott Handerson Thayer and Thayer Family Papers, 1851–1999 (bulk 1881–1950), in the Archives of American Art"
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it featured a wide selection of his drawings and paintings, archival photographs, historic documents, and interviews with humorist
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became a favorite subject, and when the area was threatened with development Thayer campaigned successfully for its preservation.
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675:(a term that may have been inspired by Thayer's writings, which referred to disruptive patterns in nature as "razzle dazzle".)
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were impressed by the serenity of Thayer's vision, and saw a "distinctly modern" approach in his traditional compositions.
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Hanna Rose Shell, '"Instantaneous
Photography and Abbott Thayer's Modeling of Invisibility in Nature and Man" in
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Roy R. Behrens, "The
Meaning of the White Undersides of Animals: Abbott H. Thayer and the Laws of Disguise" in
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became his closest friend. Returning to New York, he established his own portrait studio (which he shared with
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During the last third of his life, he worked together with his son, Gerald
Handerson Thayer, on a book about
452:) using a broom instead of a brush to lessen the sense of rigidity in a newly finished, still-wet painting.
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Thayer also influenced
American art through his efforts as a teacher, training apprentices in his
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Gradually, Thayer and Brush entrusted their camouflage work to the responsibility of their sons.
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1683:"Abbott Thayer's Camouflage Demonstrations: Countershading, Disruption and Background Picturing"
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1502:"Revisiting Abbott Thayer: Non-scientific Reflections About Camouflage in Art, War and Zoology"
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1214:"Revisiting Abbott Thayer: non-scientific reflections about camouflage in art, war and zoology"
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reputation resulted in more portrait commissions than he could accept. Among his sitters were
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337:. He also made numerous portraits of the three remaining Thayer children, Mary, Gerald, and
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Roy R. Behrens, "Abbott H. Thayer's
Anticipation of a Computer-Based Method of Working" in
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were in fact cryptically colored. He was vigorously attacked for this in a long paper by
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Roosevelt, Theodore (1911). "Revealing and concealing coloration in birds and mammals".
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was approved for use on American ships, and a handful of Thayer enthusiasts (among them
305:), became active in the Society of American Painters, and began to take in apprentices.
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Exhibition of paintings by Abbott H. Thayer : Pittsburgh, Carnegie Institute, 1919
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1381:""Invisible: Abbott Thayer and the Art of Camouflage" Documentary to Air on NHPTV 9/28"
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1424:"Thomas B. Brumbaugh research material on Abbott Handerson Thayer and other artists"
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1952:
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224:. The son of a country doctor, he spent his childhood in rural New Hampshire, near
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Mary Fuertes Boynton (1952) Abbott Thayer and Natural History. St. Catherine Press
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In October 2008, a documentary film about Thayer's life and work premiered at the
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By his own admission, Thayer often suffered from a condition that is now known as
391:, shared their father's enthusiasms, and became painters. In 1898, Thayer visited
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Letter from Thayer to the land agent of Earl Cowley, dated June 2, 1898, at the
524:(Thayer's cousin), Alexander and William James (the sons of Harvard philosopher
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1588:"Not Theories but Revelations" The Art and Science of Abbott Handerson Thayer.
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810:, Jr. (whose father was Thayer's student), camouflage scholar Roy R. Behrens,
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1320:. New York: The Press Publishing Co. (The New York World). 1918. p. 216.
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Roy R. Behrens, "The Theories of Abbott H. Thayer: Father of Camouflage" in
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1937:
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691:, trying unsuccessfully to persuade them to adopt a disruptively patterned
411:, with whom (when they were not quarreling) he collaborated on camouflage.
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Thayer first became involved in military camouflage in 1898, during the
136:(August 12, 1849 – May 29, 1921) was an American artist,
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2015:
1999:
1917:
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Hide and Seek: Camouflage, Photography, and the Media of Reconnaissance
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592:, as when a butterfly mimics a leaf (though here he was anticipated by
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He survived with the help of his patrons, among them the industrialist
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curator Richard Murray, Thayer's friends and relatives, and others.
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1602:
The Gilded Age: Treasures from the Smithsonian American Art Museum
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246:, and made his first artworks: watercolor paintings of animals.
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Thayer and Brush's experiments with camouflage continued into
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in 1909, then reissued in 1918, it may have had an effect on
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341:, and used them as models for symbolic compositions such as
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to William Henry Thayer and Ellen Handerson, members of the
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In 1915, during World War I, Thayer made proposals to the
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484:. Some of his finest works are in the collections of the
1001:"Museum Explores Trials and Triumphs of Female Artists"
269:, to study painting at the Brooklyn Art School and the
828:, a 1903 painting by Thayer to commemorate the writer
631:"Thayer straining the theory to a fantastic extreme":
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frequently entertained prominent guests there such as
1667:"A Painter of Angels Became the Father of Camouflage"
1562:"A Painter of Angels Became the Father of Camouflage"
550:, in the collection of the Archives of American Art,
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Members of the American Academy of Arts and Letters
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List of countries that prohibit camouflage clothing
980:. Archives of American Art, Smithsonian Institution
900:
800:
Invisible: Abbott Thayer and the Art of Camouflage,
1409:"Abbott Handerson Thayer And Thayer Family Papers"
1079:"Thayer, Emma Beach (American painter, 1850-1924)"
903:Bulletin of the American Museum of Natural History
873:. Vol. 26 (11th ed.). 1911. p. 728.
1506:Philosophical Transactions of the Royal Society B
1294:. Seattle Star, Seattle, Washington. 28 July 1917
1219:Philosophical Transactions of the Royal Society B
528:), and Thayer's own son and daughter, Gerald and
465:Thayer's first use of the theme was the painting
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1559:
1486:False Colors: Art, Design and Modern Camouflage
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1157:
1155:
1984:
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1663:from The Metropolitan Museum of Art Libraries
1644:American Artists Abroad and their Inspiration
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937:
935:
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1630:Concealing Colouration in the Animal Kingdom
1574:Dennis Miller Bunker: American Impressionist
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1152:
1026:"Botanical paintings of Ellen Thayer Fisher"
763:. As he aged, he suffered increasingly from
707:) recruited hundreds of artists to join the
2977:American alumni of the École des Beaux-Arts
2193:Concealing-Coloration in the Animal Kingdom
1661:Abbott Handerson Thayer exhibition catalogs
1226:(1516). Royal Society Publishing: 497–501.
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782:At age 71, Thayer, disabled by a series of
681:Concealing-Coloration in the Animal Kingdom
566:Concealing-Coloration in the Animal Kingdom
557:
399:, the Chief of the US Biological Survey in
162:Concealing-Coloration in the Animal Kingdom
114:Concealing-Coloration in the Animal Kingdom
2358:Middle East Command Camouflage Directorate
2343:Camouflage clothing in Trinidad and Tobago
1991:
1977:
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930:
839:, an 1884 oil on canvas painting by Thayer
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29:
2574:Six-Color Desert Pattern (Chocolate Chip)
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1239:
1083:ULAN Full Record Display (Getty Research)
249:At the age of fifteen he was sent to the
3002:Chapel Hill – Chauncy Hall School alumni
1637:Abbott H. Thayer: Painter and Naturalist
998:
891:
786:, died quietly at home on May 29, 1921.
718:
626:
584:to break up an object's outlines, about
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432:
418:
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312:
199:
1628:Abbott H. Thayer and Gerald H. Thayer,
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1474:. Vol 21 No 3 (1988), pp. 291–296.
1267:. Oxford University Press. p. 172.
1208:
992:
927:New Hampshire, Birth Records, 1659–1900
181:and others for its assumption that all
2919:
1590:Williams College Museum of Art, 2016.
1402:
1373:
1314:"American Academy of Arts and Letters"
532:. He also had a profound influence on
395:and, with an introductory letter from
1972:
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1576:. Museum of Fine Arts, Boston, 1994.
1481:. Vol 34 No 1 (2001), pp. 19–20.
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281:. He showed work at the newly formed
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999:Jacobson, Aileen (January 9, 2016).
956:
742:American Academy of Arts and Letters
2717:Marine Corps Combat Utility Uniform
1318:World Almanac and Encyclopedia 1919
258:, techniques that he was learning.
177:. However it was roundly mocked by
13:
3007:20th-century American male artists
2997:19th-century American male artists
1604:. Watson-Guptill, New York, 2000.
965:
14:
3023:
2992:People from Dublin, New Hampshire
2108:As evidence for natural selection
1654:
1632:(New York: Macmillan, 1909/1918).
643:(dawn or dusk), painted by Thayer
371:, where Thayer had grown up. The
2972:People from Keene, New Hampshire
2219:Lucien-Victor Guirand de Scévola
2091:
2041:Coincident disruptive coloration
1740:Lucien-Victor Guirand de Scévola
1460:. Syracuse, NY: Everson Museum.
864:"Thayer, Abbott Handerson"
355:Emmeline "Emma" Buckingham Beach
297:, and where the American artist
1722:
1676:article that first appeared in
1642:Nancy Stula with Nancy Noble,
1560:Meryman, Richard (April 1999).
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796:Smithsonian American Art Museum
498:Smithsonian American Art Museum
428:Smithsonian American Art Museum
207:(1892–93), painted allusion to
2962:20th-century American painters
2952:19th-century American painters
2789:Operational Camouflage Pattern
2255:Adaptive Coloration in Animals
1998:
1554:Sketches from an Artist’s Life
1265:Adaptive Coloration in Animals
921:
877:
714:
1:
2586:Australian Disruptive Pattern
1639:(Connecticut Printers, 1951).
887:. BBC Radio 4. 16 March 2017.
848:
727:
544:
195:
36:
2987:People with bipolar disorder
2850:Diffused lighting camouflage
2735:Universal Camouflage Pattern
2368:USN WWII camouflage measures
1292:"Seeks Artists for War Work"
210:Winged Victory of Samothrace
16:American painter (1849–1921)
7:
2967:American landscape painters
2795:Netherlands Fractal Pattern
2729:Tactical Assault Camouflage
2562:Disruptive Pattern Material
817:
507:
283:Society of American Artists
261:At age 18, he relocated to
10:
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494:National Academy of Design
490:Metropolitan Museum of Art
271:National Academy of Design
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2814:
2703:
2658:Camouflage Central-Europe
2652:Desert Camouflage Pattern
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2100:
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2068:Multi-spectral camouflage
2006:
1828:
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1131:Anderson 1982, pp. 31–32.
1068:Anderson 1982, pp. 60–63.
789:
709:American Camouflage Corps
695:, in place of monochrome
651:, when he and his friend
121:
101:
87:
68:
46:
28:
21:
2244:Johann Georg Otto Schick
1958:Wilfred Clement Von Berg
1545:Nancy Douglas Bowditch,
1500:Behrens, Roy R. (2009).
1488:(Bobolink Books, 2002).
1429:Archives of American Art
1414:Archives of American Art
1189:Archives of American Art
777:Wellesley, Massachusetts
604:), and especially about
558:Camouflage contributions
502:Art Institute of Chicago
148:, figures, animals, and
2634:Desert Night Camouflage
2187:Abbott Handerson Thayer
1795:Abbott Handerson Thayer
1556:(William Bauhan, 1973).
1549:(William Bauhan, 1970).
1458:Abbott Handerson Thayer
1433:Smithsonian Institution
1417:Smithsonian Institution
870:Encyclopædia Britannica
641:The Skies They Simulate
552:Smithsonian Institution
440:, 1884, oil on canvas.
426:, 1887, oil on canvas.
327:George Washington Cable
309:Return to New Hampshire
134:Abbott Handerson Thayer
23:Abbott Handerson Thayer
2957:American male painters
2179:The Colours of Animals
2173:Edward Bagnall Poulton
2063:Multi-scale camouflage
1878:Stanley William Hayter
1790:Solomon Joseph Solomon
1648:Lyman Allyn Art Museum
1547:George de Forest Brush
1518:10.1098/rstb.2008.0250
1456:Ross Anderson (1982).
1440:Cornwall Record Office
1232:10.1098/rstb.2008.0250
1170:Prelinger 2000, p. 98.
909:(Article 8): 119–231.
830:Robert Louis Stevenson
737:
733:–1910. Oil on canvas.
653:George de Forest Brush
644:
577:
475:Mariana Van Rensselaer
463:
444:
430:
409:George de Forest Brush
321:
299:George de Forest Brush
213:
2771:Multi-Terrain Pattern
2753:Airman Battle Uniform
2550:Rhodesian Brushstroke
2150:Underwater camouflage
2036:Disruptive coloration
1600:Elizabeth Prelinger,
1342:Anderson 1982, p. 37.
1330:Anderson 1982, p. 54.
1199:Anderson 1982, p. 27.
1161:Anderson 1982, p. 60.
1140:Anderson 1982, p. 71.
1122:Anderson 1982, p. 20.
1113:Anderson 1982, p. 28.
1059:Anderson 1982, p. 19.
1050:Anderson 1982, p. 16.
962:Anderson 1982, p. 12.
722:
630:
582:disruptive patterning
575:
563:Further information:
518:Louis Agassiz Fuertes
458:
436:
422:
415:Artistic achievements
369:Dublin, New Hampshire
357:, whose grandfather
320:, 1904, oil on canvas
316:
303:Daniel Chester French
279:Daniel Chester French
203:
165:. First published by
157:protective coloration
80:Dublin, New Hampshire
61:Boston, Massachusetts
2947:Painters from Boston
2888:Dazzled and Deceived
2053:Distractive markings
2031:Counter-illumination
1678:Smithsonian Magazine
1618:(Zone Books, 2012).
1566:Smithsonian Magazine
1212:(27 February 2009).
1179:Hirshler, pp. 42–44.
649:Spanish–American War
586:distractive markings
541:Thomas Wilmer Dewing
534:Dennis Miller Bunker
486:Freer Gallery of Art
287:École des Beaux-Arts
242:, experimented with
140:, and teacher. As a
2777:Australian Multicam
2580:U.S. "M81" Woodland
2338:Aircraft camouflage
2333:Military camouflage
2046:Disruptive eye mask
1572:Erica E. Hirshler,
1403:Unpublished sources
1279:U.S. patent 715,013
1263:Cott, Hugh (1940).
520:, Richard Meryman,
377:Ralph Waldo Emerson
318:Monadnock in Winter
256:Ellen Thayer Fisher
251:Chauncy Hall School
216:Thayer was born in
171:military camouflage
2894:Stealth technology
2404:Splittertarnmuster
2299:Thomas N. Sherratt
1858:Bainbridge Copnall
1672:2013-10-30 at the
1444:GHW/12/3/6/1/91/43
1032:. 8 September 2013
1005:The New York Times
825:Stevenson Memorial
761:Theodore Roosevelt
738:
689:British War Office
645:
622:Theodore Roosevelt
578:
482:Charles Lang Freer
445:
431:
322:
214:
179:Theodore Roosevelt
159:in nature, titled
2914:
2913:
2875:
2874:
2871:
2870:
2810:
2809:
2622:Camouflage Daguet
2495:
2494:
2348:Dazzle camouflage
2312:
2311:
2214:Mary Taylor Brush
2058:Motion camouflage
2026:Active camouflage
1966:
1965:
1745:Jean-Louis Forain
1635:Nelson C. White,
1624:9-7819-3540-822-2
1586:Kevin M. Murphy,
1512:(1516): 497–501.
1451:Published sources
673:dazzle camouflage
393:St Ives, Cornwall
273:. studying under
228:, at the foot of
183:animal coloration
131:
130:
3019:
2819:
2818:
2390:
2389:
2383:
2382:
2323:
2322:
2229:Norman Wilkinson
2224:John Graham Kerr
2163:
2162:
2095:
2083:Urban camouflage
1993:
1986:
1979:
1970:
1969:
1953:Julian Trevelyan
1888:Jasper Maskelyne
1820:Norman Wilkinson
1810:Edward Wadsworth
1785:Kimon Nicolaïdes
1760:John Graham Kerr
1717:
1710:
1703:
1694:
1693:
1569:
1552:Barry Faulkner,
1539:
1529:
1396:
1395:
1393:
1391:
1383:. New Hampshire
1377:
1371:
1368:
1362:
1359:
1353:
1349:
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1075:
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1037:
1030:Beauty will save
1022:
1016:
1015:
1013:
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996:
990:
989:
987:
985:
974:
963:
960:
954:
951:
928:
925:
919:
918:
898:
889:
888:
881:
875:
874:
866:
859:
757:bipolar disorder
732:
729:
669:Norman Wilkinson
656:coloration of a
633:White Flamingoes
549:
546:
401:Washington, D.C.
364:The New York Sun
359:Moses Yale Beach
347:Virgin Enthroned
295:Jean-Léon Gérôme
239:Birds of America
104:
75:
56:
54:
41:
38:
33:
19:
18:
3027:
3026:
3022:
3021:
3020:
3018:
3017:
3016:
2917:
2916:
2915:
2910:
2899:Cloaking device
2867:
2838:
2806:
2705:
2699:
2610:Type 87 (China)
2530:
2524:
2491:
2465:(1917 aircraft)
2457:Camouflage tree
2445:
2416:Rauchtarnmuster
2395:
2372:
2363:Ship camouflage
2308:
2272:
2268:Timothy O'Neill
2263:Geoffrey Barkas
2200:
2154:
2096:
2087:
2078:Snow camouflage
2073:Self-decoration
2002:
1997:
1967:
1962:
1948:Ernest Townsend
1843:Geoffrey Barkas
1824:
1800:Maximilian Toch
1726:
1721:
1674:Wayback Machine
1657:
1453:
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931:
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878:
861:
860:
856:
851:
820:
808:Richard Meryman
792:
746:Yale University
735:Brooklyn Museum
730:
717:
701:ship camouflage
560:
547:
539:In a letter to
510:
442:Brooklyn Museum
417:
397:C. Hart Merriam
311:
275:Lemuel Wilmarth
230:Mount Monadnock
198:
111:
102:
83:
77:
73:
64:
58:
57:August 12, 1849
52:
50:
42:
39:
24:
17:
12:
11:
5:
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2720:
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2676:wz. 93 Pantera
2673:
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2453:
2451:
2447:
2446:
2444:
2443:
2437:
2431:
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2419:
2413:
2410:Platanenmuster
2407:
2400:
2398:
2387:
2380:
2374:
2373:
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2370:
2365:
2360:
2355:
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2304:Martin Stevens
2301:
2296:
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2239:Leon Underwood
2236:
2234:Everett Warner
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2156:
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2147:
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2135:
2125:
2120:
2118:Decorator crab
2115:
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2102:
2098:
2097:
2090:
2088:
2086:
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2070:
2065:
2060:
2055:
2050:
2049:
2048:
2043:
2033:
2028:
2023:
2021:Countershading
2018:
2012:
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2003:
1996:
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1964:
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1961:
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1903:Roland Penrose
1900:
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1873:Frederick Gore
1870:
1868:Victorine Foot
1865:
1860:
1855:
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1834:
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1815:Everett Warner
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1805:Leon Underwood
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1655:External links
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1612:
1598:
1596:978-0981576275
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840:
832:
819:
816:
804:P. J. O'Rourke
791:
788:
716:
713:
705:Barry Faulkner
637:Red Flamingoes
606:countershading
570:
569:
559:
556:
522:Barry Faulkner
509:
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416:
413:
310:
307:
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194:
129:
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99:
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88:Known for
85:
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76:(aged 71)
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2937:Thayer family
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2856:Yehudi lights
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2475:Denison smock
2473:
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2469:Telo mimetico
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2123:Flower mantis
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1773:
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1755:Loyd A. Jones
1753:
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1750:Louis Guingot
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1646:(New London:
1645:
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1617:
1613:
1611:
1610:0-8230-0192-X
1607:
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1582:0-87846-423-9
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1370:Behrens 2009.
1367:
1361:Meryman 1999.
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750:Mt. Monadnock
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2904:Invisibility
2886:
2664:Soldier 2000
2544:Tiger stripe
2487:Ghillie suit
2440:Leibermuster
2434:Erbsenmuster
2422:Palmenmuster
2253:
2191:
2186:
2177:
1943:Steven Sykes
1938:Basil Spence
1933:Alan Sorrell
1928:Edward Seago
1863:Hugh B. Cott
1830:World War II
1794:
1677:
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1573:
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1546:
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1427:
1412:
1388:. Retrieved
1375:
1366:
1357:
1347:
1326:
1317:
1308:
1298:25 September
1296:. Retrieved
1286:
1273:
1264:
1258:
1223:
1217:
1210:Behrens, Roy
1204:
1195:
1184:
1175:
1166:
1145:
1136:
1127:
1118:
1109:
1098:
1086:. Retrieved
1082:
1073:
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1055:
1046:
1034:. Retrieved
1029:
1020:
1008:. Retrieved
1004:
994:
982:. Retrieved
958:
923:
906:
902:
885:"Camouflage"
879:
868:
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610:Thayer's Law
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215:
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187:
185:is cryptic.
160:
154:
133:
132:
112:
107:
103:Notable work
74:(1921-05-29)
72:May 29, 1921
2982:Camoufleurs
2942:Yale family
2932:1921 deaths
2927:1849 births
2616:wz. 89 Puma
2568:wz. 68 Moro
2471:(1929 tent)
2428:Sumpfmuster
2284:Roy Behrens
2277:Researchers
2206:Camoufleurs
1923:Peter Scott
1908:Peter Proud
1853:John Codner
1848:Hugh Casson
1838:Tony Ayrton
1732:World War I
1724:Camoufleurs
1442:, Ref. No.
1390:30 December
1036:26 February
1010:26 February
836:The Sisters
812:Smithsonian
769:Dublin Pond
731: 1896
724:My Children
715:Later years
693:battledress
671:would call
665:World War I
548: 1917
438:The Sisters
405:Earl Cowley
345:(1887) and
335:Henry James
175:World War I
40: 1890
2921:Categories
2843:Prototypes
2829:Berberys-R
2815:Technology
2646:Tropentarn
2513:Strichtarn
2386:Up to WWII
2143:Aggressive
2016:Camouflage
2000:Camouflage
1918:Brian Robb
1913:Fred Pusey
1898:Colin Moss
1883:Ivan Konev
1780:André Mare
1770:Franz Marc
1568:: 116–128.
1352:suicidal."
849:References
773:sanatorium
618:flamingoes
590:masquerade
381:Mark Twain
331:Mark Twain
196:Early life
150:landscapes
138:naturalist
110:(painting)
96:Camouflage
53:1849-08-12
2640:Flecktarn
2529:Late 20th
2481:Frog Skin
2249:Hugh Cott
2138:Müllerian
2101:In nature
1765:Paul Klee
798:. Titled
461:figures."
244:taxidermy
167:Macmillan
146:portraits
2822:Deployed
2801:Xingkong
2723:MultiCam
2715:(2001) (
2500:Post-war
2424:(c 1941)
2378:Patterns
2318:Military
2289:Tim Caro
2133:Batesian
1670:Archived
1650:, 2004).
1536:19000975
1479:Leonardo
1472:Leonardo
1250:19000975
1088:27 March
915:2246/470
818:See also
614:peacocks
588:, about
508:Teaching
349:(1891).
267:New York
263:Brooklyn
205:A Virgin
192:studio.
92:Painting
2880:Related
2862:Adaptiv
2834:Nakidka
2759:Type 07
2719:(2002))
2706:century
2531:century
2463:Lozenge
2128:Mimicry
2113:Crypsis
2008:Methods
1527:2674083
1466:8857434
1241:2674083
784:strokes
658:seagull
602:Poulton
598:Wallace
289:, with
234:Audubon
173:during
142:painter
35:Thayer
2864:(2011)
2858:(1943)
2852:(1941)
2803:(2019)
2797:(2019)
2791:(2015)
2785:(2015)
2783:HunCam
2779:(2014)
2773:(2010)
2767:(2008)
2761:(2007)
2755:(2007)
2749:(2007)
2743:(2006)
2741:ESTDCU
2737:(2004)
2731:(2004)
2725:(2002)
2713:MARPAT
2696:(1998)
2690:(1998)
2684:(1997)
2682:CADPAT
2678:(1993)
2672:(1993)
2670:TAZ 90
2666:(1993)
2660:(1991)
2654:(1990)
2648:(1990)
2642:(1990)
2636:(1990)
2630:(1990)
2624:(1989)
2618:(1989)
2612:(1987)
2606:(1984)
2600:(1984)
2594:(1983)
2592:TAZ 83
2588:(1982)
2582:(1981)
2576:(1981)
2570:(1969)
2564:(1969)
2558:(1967)
2552:(1965)
2546:(1962)
2540:(1958)
2538:Jigsaw
2521:(1968)
2515:(1960)
2509:(1947)
2507:Lizard
2483:(1942)
2477:(1941)
2459:(1915)
2442:(1945)
2436:(1944)
2430:(1943)
2418:(1939)
2412:(1937)
2406:(1931)
2394:German
2326:Topics
2159:People
1622:
1608:
1594:
1580:
1534:
1524:
1492:
1464:
1248:
1238:
984:31 May
790:Legacy
600:, and
530:Gladys
500:, and
389:Gladys
361:owned
339:Gladys
333:, and
218:Boston
122:Family
117:(book)
2694:Flora
2598:Dubok
2450:Other
2166:Early
697:khaki
594:Bates
467:Angel
424:Angel
343:Angel
226:Keene
108:Angel
2704:21st
2556:ERDL
2519:KLMK
2396:WWII
1620:ISBN
1606:ISBN
1592:ISBN
1578:ISBN
1532:PMID
1490:ISBN
1462:OCLC
1392:2023
1300:2021
1246:PMID
1090:2020
1038:2017
1012:2017
986:2012
639:and
616:and
379:and
293:and
82:, US
69:Died
63:, US
47:Born
2765:EMR
2747:M05
2688:M98
2628:M90
2604:M84
1522:PMC
1514:doi
1510:364
1385:PBS
1236:PMC
1228:doi
1224:364
911:hdl
775:in
711:..
236:'s
144:of
2923::
1564:.
1530:.
1520:.
1508:.
1504:.
1431:,
1426:,
1411:,
1335:^
1316:.
1244:.
1234:.
1222:.
1216:.
1154:^
1081:.
1028:.
1003:.
967:^
932:^
907:30
905:.
893:^
867:.
806:,
779:.
744:.
728:c.
726:,
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635:,
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596:,
545:c.
516:,
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496:,
492:,
488:,
383:.
329:,
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37:c.
1992:e
1985:t
1978:v
1716:e
1709:t
1702:v
1538:.
1516::
1496:.
1446:.
1394:.
1302:.
1252:.
1230::
1092:.
1040:.
1014:.
988:.
917:.
913::
543:(
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
