The Sky Simulated by White Flamingoes study for book, Concealing Coloration in the Animal Kingdom

Abbott Handerson Thayer, The Sky Simulated by White Flamingoes study for book, Concealing Coloration in the Animal Kingdom, ca. 1905-1909, oil on wood, Smithsonian American Art Museum, Gift of the heirs of Abbott Handerson Thayer, 1950.2.3
Abbott Handerson Thayer, The Sky Simulated by White Flamingoes study for book, Concealing Coloration in the Animal Kingdom, ca. 1905-1909, oil on wood, 10 1812 in. (25.830.4 cm), Smithsonian American Art Museum, Gift of the heirs of Abbott Handerson Thayer, 1950.2.3
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Artwork Details

Title
The Sky Simulated by White Flamingoes study for book, Concealing Coloration in the Animal Kingdom
Date
ca. 1905-1909
Dimensions
10 1812 in. (25.830.4 cm)
Credit Line
Gift of the heirs of Abbott Handerson Thayer
Mediums
Mediums Description
oil on wood
Classifications
Subjects
  • Animal — bird — flamingo
  • Study
  • Landscape
Object Number
1950.2.3

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)

Walter Anderson, Horn Island, ca. 1960, watercolor and pencil, Smithsonian American Art Museum, Gift of Mrs. Walter Anderson, 1967.96.4
Horn Island
Dateca. 1960
watercolor and pencil
Not on view
Walter Anderson, Shells, ca. 1950, pen and ink on paper, Smithsonian American Art Museum, Gift of Mrs. Walter Anderson, 1967.96.3
Shells
Dateca. 1950
pen and ink on paper
Not on view
Walter Anderson, Pelicans at North Key, ca. 1945, pen and ink on paper, Smithsonian American Art Museum, Gift of Mrs. Walter Anderson, 1967.96.1
Pelicans at North Key
Dateca. 1945
pen and ink on paper
Not on view
Walter Anderson, Crab on the Beach, ca. 1950, watercolor and pencil on paper, Smithsonian American Art Museum, Gift of Mrs. Walter Anderson, 1967.96.2
Crab on the Beach
Dateca. 1950
watercolor and pencil on paper
Not on view