Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom

Abbott Handerson Thayer, Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom, ca. 1905-1909, oil on paperboard, Smithsonian American Art Museum, Gift of the heirs of Abbott Handerson Thayer, 1950.2.13
Abbott Handerson Thayer, Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom, ca. 1905-1909, oil on paperboard, 22 7826 14 in. (58.266.6 cm.), Smithsonian American Art Museum, Gift of the heirs of Abbott Handerson Thayer, 1950.2.13
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Artwork Details

Title
Roseate Spoonbills, study for book Concealing Coloration in the Animal Kingdom
Date
ca. 1905-1909
Dimensions
22 7826 14 in. (58.266.6 cm.)
Credit Line
Gift of the heirs of Abbott Handerson Thayer
Mediums
Mediums Description
oil on paperboard
Classifications
Subjects
  • Landscape — water
  • Study
  • Animal — bird — duck
Object Number
1950.2.13

Artwork Description

In 1909, Abbott Handerson Thayer and his son, Gerald, published a controversial book titled Concealing Coloration in the Animal Kingdom, offering their theory of animal camouflage. Thayer believed that the coloration of animals, no matter how eye-catching, was meant to disguise them in nature through what he called "countershading." Even bright pink flamingoes would vanish against a similar colored sky at sunset or sunrise. No matter that at times their brilliant feathers were highly visible, their coloration would protect them from predators at crucial moments so that "the spectator seems to see right through the space occupied by an opaque animal." Not all readers were convinced. The most passionate criticism came from Teddy Roosevelt, who was in Africa when the book came out. He protested upon his return that Thayer's theory was ludicrous, arguing that on his trip he had spotted some of the animals Thayer mentioned from miles away. Roosevelt's challenge sparked a heated debate between the two men. Roosevelt wrote a 112-page article refuting Thayer's ideas; Thayer repeatedly invited Roosevelt to his home in New Hampshire, hoping to demonstrate his theories, but Roosevelt always refused (Nemerov, "Vanishing Americans: Abbott Thayer, Theodore Roosevelt, and the Attraction of Camouflage," American Art, Summer 1997).

Works by this artist (1036 items)

William H. Johnson, Breakdown with Flat Tire, ca. 1940-1941, oil on plywood, Smithsonian American Art Museum, Gift of the Harmon Foundation, 1967.59.587
Breakdown with Flat Tire
Dateca. 1940-1941
oil on plywood
On view
William H. Johnson, Chain Gang, ca. 1939, oil on plywood, Smithsonian American Art Museum, Gift of the Harmon Foundation, 1967.59.675
Chain Gang
Dateca. 1939
oil on plywood
On view
William H. Johnson, Midnight Sun, Lofoten, 1937, oil on burlap, Smithsonian American Art Museum, Gift of the Harmon Foundation, 1967.59.907
Midnight Sun, Lofoten
Date1937
oil on burlap
On view
William H. Johnson, Lamentation, ca. 1944, oil on fiberboard, Smithsonian American Art Museum, Gift of the Harmon Foundation, 1967.59.981
Lamentation
Dateca. 1944
oil on fiberboard
On view

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