Abbott Handerson Thayer | |
|---|---|
 Thayerc. 1890 | |
| Born | (1849-08-12)August 12, 1849 |
| Died | May 29, 1921(1921-05-29) (aged 71) |
| Known for | Painting,Camouflage |
| Notable work | Angel (painting) Concealing-Coloration in the Animal Kingdom (book) |
| Family | Thayer family |
Abbott Handerson Thayer (August 12, 1849 – May 29, 1921) was an American painter,naturalist, and teacher. As apainter ofportraits, figures, animals, andlandscapes, he enjoyed a certain prominence during his lifetime,[1] 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.
During the last third of his life, he worked together with his son, Gerald Handerson Thayer, on a book aboutprotective coloration in nature, titledConcealing-Coloration in the Animal Kingdom. First published byMacmillan in 1909, then reissued in 1918, it may have had an effect onmilitary camouflage duringWorld War I.[2] However it was roundly mocked byTheodore Roosevelt and others for its assumption that allanimal coloration is cryptic.[3]
Thayer also influenced American art through his efforts as a teacher, training apprentices in hisNew Hampshire studio.
Thayer was born inBoston to William Henry Thayer and Ellen Handerson, members of theThayer family.[4] The son of a country doctor, he spent his childhood in rural New Hampshire, nearKeene, at the foot ofMount Monadnock.[5] In that rural setting, he became an amateur naturalist[6] (in his own words, he was "bird crazy"), a hunter and a trapper. Thayer closely studiedAudubon'sBirds of America, experimented withtaxidermy, and made his first artworks: watercolor paintings of animals.[5]
At the age of fifteen he was sent to theChauncy Hall School 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.[7] He also taught his sister,Ellen Thayer Fisher, techniques that he was learning.[8][9]
At age 18, he relocated toBrooklyn,New York, to study painting at the Brooklyn Art School and theNational Academy of Design. studying underLemuel Wilmarth.[7] He met many emerging and progressive artists during this period in New York, including his future wife, Kate Bloede and his close friend,Daniel Chester French. He showed work at the newly formedSociety of American Artists, and continued refining his skills as an animal and landscape painter.[7] In 1875, after having married Kate Bloede, he moved to Paris, where he studied for four years at theÉcole des Beaux-Arts, withHenri Lehmann andJean-Léon Gérôme,[5] and where the American artistGeorge de Forest Brush became his closest friend. Returning to New York, he established his own portrait studio (which he shared withDaniel Chester French), became active in the Society of American Painters, and began to take in apprentices.
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.[10] Emotionally devastated, they spent the next several years relocating from place to place. Although he was not yet secure financially, Thayer's growing reputation resulted in more portrait commissions than he could accept.[11] Among his sitters wereGeorge Washington Cable,Mark Twain, andHenry James. He also made numerous portraits of the three remaining Thayer children, Mary, Gerald, andGladys, and used them as models for symbolic compositions such asAngel (1887) andVirgin Enthroned (1891).[12]
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,Emmeline "Emma" Buckingham Beach,[13] whose grandfatherMoses Yale Beach ownedThe New York Sun. He and his second wife spent their remaining years in rural New Hampshire, living simply and working productively. In 1901, they settled permanently inDublin, New Hampshire, where Thayer had grown up.[5] TheThayer family frequently entertained prominent guests there such asRalph Waldo Emerson andMark Twain.[14]
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,[15] and the three children were never enrolled in a school.[16] The younger two, Gerald andGladys, shared their father's enthusiasms, and became painters.[17] In 1898, Thayer visitedSt Ives, Cornwall and, with an introductory letter fromC. Hart Merriam, the Chief of the US Biological Survey inWashington, D.C., applied to the lord of the Manor of St Ives and Treloyhan, Henry Arthur Mornington Wellesley, the 3rdEarl Cowley, for permission to collect specimens of birds from the cliffs at St Ives. During this latter part of his life, among Thayer's neighbors wasGeorge de Forest Brush, with whom (when they were not quarreling) he collaborated on camouflage.
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 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 toRockwell Kent) using a broom instead of a brush to lessen the sense of rigidity in a newly finished, still-wet painting.[18]
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 by emphasizing their sexuality, rather than exalting their moral attributes.[19] 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:
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 figures."[20]
Thayer's first use of the theme was the paintingAngel. The wings were nailed into a board, in front of which his daughter Mary stood.[20] The poignancy of Thayer's imagery was found wanting by art criticClarence King, who suggested the use of buckets "to catch the dripping sentiment", yet other critics likeMariana Van Rensselaer were impressed by the serenity of Thayer's vision, and saw a "distinctly modern" approach in his traditional compositions.[21]
He survived with the help of his patrons, among them the industrialistCharles Lang Freer. Some of his finest works are in the collections of theFreer Gallery of Art,Metropolitan Museum of Art,National Academy of Design,Smithsonian American Art Museum, andArt Institute of Chicago.
Thayer was resourceful in his teaching, which he saw as a useful, inseparable part of his own studio work. Among his devoted apprentices wereRockwell Kent,Louis Agassiz Fuertes, Richard Meryman,Barry Faulkner (Thayer's cousin), Alexander and William James (the sons of Harvard philosopherWilliam James), and Thayer's own son and daughter, Gerald andGladys. He also had a profound influence onDennis Miller Bunker, 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."[22]
In a letter toThomas Wilmer Dewing (c. 1917, in the collection of the Archives of American Art,[23]Smithsonian Institution), Thayer reveals that his method was to work on a new painting for only three days. If he worked longer on it, he said, he would either accomplish nothing or would ruin it. So on the fourth day, he would instead take a break, getting as far from the work as possible, but meanwhile instruct each student to make an exact copy of that three-day painting. Then, when he did return to his studio, he would (in his words) "pounce on a copy and give it a three-day shove again".[24] As a result, he would end up with alternate versions of the same painting, in substantially different finished states.
Thayer is sometimes referred to as the "father of camouflage".[5] While he did not invent camouflage, he was one of the first to write aboutdisruptive patterning to break up an object's outlines,[5] aboutdistractive markings, aboutmasquerade, as when a butterfly mimics a leaf (though here he was anticipated byBates,Wallace, andPoulton), and especially aboutcountershading. 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 calledThayer's Law.[5] However, he became obsessed with the idea that all animals are camouflaged, spoiling his case by arguing that conspicuous birds likepeacocks andflamingoes were in fact cryptically colored. He was vigorously attacked for this in a long paper byTheodore Roosevelt.[3]
Thayer first became involved in military camouflage in 1898, during theSpanish–American War, when he and his friendGeorge de Forest Brush proposed the use of protective coloration on American ships, using countershading.[5] 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 coloration of aseagull.[27]
Thayer and Brush's experiments with camouflage continued intoWorld War I, 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 designerNorman Wilkinson would calldazzle camouflage (a term that may have been inspired by Thayer's writings, which referred to disruptive patterns in nature as "razzle dazzle".)
Gradually, Thayer and Brush entrusted their camouflage work to the responsibility of their sons.Concealing-Coloration in the Animal Kingdom (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).
In 1915, during World War I, Thayer made proposals to theBritish War Office, trying unsuccessfully to persuade them to adopt a disruptively patternedbattledress, in place of monochromekhaki, though he was too anxious to attend the meeting in person.[5] Meanwhile, Thayer and Gerome Brush's proposal for the use of countershading inship camouflage was approved for use on American ships, and a handful of Thayer enthusiasts (among themBarry Faulkner) recruited hundreds of artists to join theAmerican Camouflage Corps.[28]
Despite rapid changes in the art world in the early 20th century, Thayer's reputation remained strong. He was an early member of theAmerican Academy of Arts and Letters.[29]Yale University 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.[30] The view from his home ofMt. Monadnock became a favorite subject, and when the area was threatened with development Thayer campaigned successfully for its preservation.[31]
By his own admission, Thayer often suffered from a condition that is now known asbipolar disorder.[32][33] 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. PresidentTheodore Roosevelt. As he aged, he suffered increasingly frompanic attacks (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 onDublin Pond.[34] 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 asanatorium inWellesley, Massachusetts.[31]
At age 71, Thayer, disabled by a series ofstrokes, died quietly at home on May 29, 1921.
In October 2008, a documentary film about Thayer's life and work premiered at theSmithsonian American Art Museum. TitledInvisible: Abbott Thayer and the Art of Camouflage, it featured a wide selection of his drawings and paintings, archival photographs, historic documents, and interviews with humoristP. J. O'Rourke,Richard Meryman, Jr. (whose father was Thayer's student), camouflage scholar Roy R. Behrens,Smithsonian curator Richard Murray, Thayer's friends and relatives, and others.[35]
.jpg)
