Male Wood Duck in a Forest Pool, study for book Concealing Coloration in the Animal Kingdom

Abbott Handerson Thayer, Richard S. Meryman, Male Wood Duck in a Forest Pool, study for book Concealing Coloration in the Animal Kingdom, ca. 1905-1909, oil on canvas, Smithsonian American Art Museum, Gift of the heirs of Abbott Handerson Thayer, 1950.2.10
Abbott Handerson Thayer, Richard S. Meryman, Male Wood Duck in a Forest Pool, study for book Concealing Coloration in the Animal Kingdom, ca. 1905-1909, oil on canvas, 20 1420 14 in. (51.351.4 cm), Smithsonian American Art Museum, Gift of the heirs of Abbott Handerson Thayer, 1950.2.10
Free to use

Artwork Details

Title
Male Wood Duck in a Forest Pool, study for book Concealing Coloration in the Animal Kingdom
Date
ca. 1905-1909
Dimensions
20 1420 14 in. (51.351.4 cm)
Credit Line
Gift of the heirs of Abbott Handerson Thayer
Mediums
Mediums Description
oil on canvas
Classifications
Subjects
  • Landscape — water
  • Landscape — forest
  • Animal — bird — duck
  • Study
Object Number
1950.2.10

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 (4 items)

Mary Frank, Leaping Boy with Fragments, 1980, color monotype on paper, Smithsonian American Art Museum, Gift of Michael J. Ettner, 2021.88.72
Leaping Boy with Fragments
Date1980
color monotype on paper
Not on view
Mary Frank, Horse in Water, from the portfolio The New Provincetown Print Project, 1990, 1990, monoprint with collagraph and chine colle on paper, Smithsonian American Art Museum, Gift of Burton and Brunetta Wolfman through the Fine Arts Work Center in Provincetown, 1992.102.2, © 1990, Mary Frank
Horse in Water, from the portfolio The New Provincetown…
Date1990
monoprint with collagraph and chine colle on paper
Not on view
Mary Frank, Woman Figure, ca. 1960-1965, lithograph on paper, Smithsonian American Art Museum, Gift of Arnold Elser, 1981.154.25
Woman Figure
Dateca. 1960-1965
lithograph on paper
Not on view
Mary Frank, Hand, 1963, lithograph on paper, Smithsonian American Art Museum, Gift of Arnold Elser, 1981.154.26
Hand
Date1963
lithograph on paper
Not on view

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