Ship Concealment Camouflage Instructions
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Setting the Stage for Deception Perspective Distortion in World War I Camouflage
rivista on-line del Seminario Permanente di Estetica anno IX, numero 2 Setting the Stage for Deception Perspective Distortion in World War I Camouflage Roy R. Behrens Near the end of the 15th century, Leonardo da Vinci described a discovery he had made while investigating perspective. He mentioned it in his Treatise on Painting, and elsewhere included two drawings. He had discovered what is known as anamorphosis, of which his two examples may be the oldest surviving attempts. One is a drawing of a baby’s face, but laterally stretched and distorted, as if on a rubber sheet. The second, which represents a human eye, is also horiZontally stretched (Baltrusaitis [1977]: 33; Leeman [1976]: 10-11). At the time he made these drawings, there was no way of predicting that, centuries later, this seemingly trivial finding, and its later applications, would be of substantial significance in World War I ship camouflage. In linear perspective, an artist typically faces a perpendicular working surface, both while constructing an image and later in viewing the final result. In the case of Leonardo, it is apparent that his drawings were not made from that frontal position but from a surprising view from the side, at the extreme edge of the page. As a result, when the drawings are viewed head-on, they appear distorted. However, when viewed from the edge of the page – from the position from which they originated – they appear to be perfectly normal. Anamorphosis was apparently little more than a curiosity for Leonardo, not something of evident practical use. He did not use it in any of his own paintings, in part because, as he explained, anyone wanting to interpret the image would have to view it from the side, and even, to experience it optimally, to observe it through a peephole with one eye only (Baltrusaitis [1977]: 33). -
The Artist in the Connecticut Landscape October 2, 2015–January 31, 2016
Annual Report Issue SUMMER 2015 A Special Invitation to Florence Griswold Museum Members Please join us for the 69th Annual Meeting and the Members’ Reception for the Opening of All the Sea Knows: Marine Art from the Museum of the City of New York. Friday, June 5, 2015 at 5:30pm and trustees. At 6:30pm, we’ll enjoy Florence Griswold Museum a festive reception for the opening of 96 Lyme Street All the Sea Knows: Marine Art from the Museum of the City of New York. Old Lyme, Connecticut The 69th Annual Meeting of the This is your invitation to the Florence Griswold Museum takes place Members’ Reception. We hope on Friday, June 5, 2015 at 5:30pm under you can join us. Kindly RSVP a tent on the Adrian P. Moore Garden (acceptances only) to 860-434-5542 Terrace. We will share brief reports on ext. 122 or [email protected]. the activities of the Museum and invite James Edward Buttersworth (1817–1894), Yacht Race off Fort Wadsworth, ca. 1870. Oil on board, 9 1/4 x 12 1/4 members to elect a new slate of officers inches. Museum of the City of New York All the Sea Knows–a New Exhibition BEFORE MISS FLORENCE Sea Knows reveals the diverse ways the helped introduce the world to American sea has been depicted in American art Impressionism, her father, Captain and its connections to the Connecticut Robert Griswold, made his mark as a shore. A special gallery will unite, for respected sea captain. For 25 years he the first time, paintings from MCNY’s sailed the Atlantic between New York collection with selections from the and London on packet ships of the Black Museum’s collection that depict ships X Line. -
Inspiratorium
inspiratoriumTHE An intermedia history of art-media-innovation 1800-2015 Te Inspiratorium - an intermedia history of media-art and innovation by Bob Cotton Te Inspiratorium is the frst intermedia history of the arts, media and innovation. It is a personal collection of in- novative artefacts, drawn from the histories of all the media arts (photography, painting, installation, animation, flm, graphics, commercial art, music, theatre, dance, literature, poetry, fashion and costume, computer-based art, etc); from the innovations in media form and content, and from the scientifc discoveries and critical theories that underpin such innovation - the emerging theories of art, photography, flm, new media, etc, and the core theories of perception, colour, cognition, consciousness, psychology, physics, computer science etc.Te Inspiratorium also includes the people who personify the zeitgeist of the periods covered - the artists, designers, stars, celebrities, char- acters, entrepreneurs and impresarios of the ages. It is designed as an exhibition to immerse, inform, guide, inspire, catalyse, and contextualise. In short its the place to come for inspiration, no matter what your discipline. It is designed to be an immersive and chronological guide or back-story of the media-arts-innovation environment/ ecology we fnd ourselves in our multimedia, networked, computer-mediated 21st century. Its the back-story of our times. When exhibited, I envisage about 1000 discrete artefacts displayed as individual plaques. LCD screens, projec- tions, that are arranged chronologically. Te Inspiratorium also encourages participation - visitors can suggest arte- facts for inclusion. All the in-copyright images displayed are used under section 10 of the 1998 Copyright Act - ie in the spirit of fair use as an educational tool for students of all ages.. -
Ship Concealment Camouflage Instructions
INFORMATION SHIP CONCEALMENT CAMOUFLAGE INSTRUCTIONS NAVSHIPS 250-374 • NAVY DEPARTMENT BUREAU OF SHIPS • WASHINGTON, D. C. ,I SHIP CONCEALMENT CAMOUFLAGE iii ,i INSTRUCTIONS UNITED STATES NAVY NAVSHIPS 250-374 JANUARY 1953 PREFACE This edition of Ship Concealment Camouflage Instructions U. S. Navy supersedes the following publications: (1) Ship Camouflage Instructions U. S. Navy (Ships-2), second revision, of June 1942; (2) Supplement to Ship Camouflage Instructions (Ships-2), second revision, of March 1945; (3) Submarine Concealment Camouflage (NavShips 250-631) of 1 August 1945. Several of the measures contained herein are but slight modifications of measures cur- rently in effect. A number of the measures for submarines are entirely new. It is the responsibility of the Fleet and Force Commanders to select measures contained herein for application to vessels of their respective commands and for new vessels scheduled to join their commands and to inform the Bureau of Ships of the measures selected. It is the responsibility of the Bureau of Ships to disseminate information regarding the painting of new types of vessels to the Naval Shipyards or to the Supervisors of Shipbuilding as may be appropriate. F OR E W 0 R D This booklet has two primary objectives: 1. To furnish Fleet and Force Commanders with information on the effectiveness and suitability of various concealment measures, and guidance in the selection of measures most suited to a particular vessel operating in a particular area. 2. To provide the techniques whereby each field activity, or individual vessel, will be able to apply specified concealment measures without requiring outside assistance. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia americká architektúra - pozri chicagská škola, prériová škola, organická architektúra, Queen Anne style v Spojených štátoch, Usonia americká ilustrácia - pozri zlatý vek americkej ilustrácie americká retuš - retuš americká americká ruleta/americké zrnidlo - oceľové ozubené koliesko na zahnutej ose, užívané na zazrnenie plochy kovového štočku; plocha spracovaná do čiarok, pravidelných aj nepravidelných zŕn nedosahuje kvality plochy spracovanej kolískou americká scéna - american scene americké architektky - pozri americkí architekti http://en.wikipedia.org/wiki/Category:American_women_architects americké sklo - secesné výrobky z krištáľového skla od Luisa Comforta Tiffaniho, ktoré silno ovplyvnili európsku sklársku produkciu; vyznačujú sa jemnou farebnou škálou a novými tvarmi americké litografky - pozri americkí litografi http://en.wikipedia.org/wiki/Category:American_women_printmakers A Anne Appleby Dotty Atti Alicia Austin B Peggy Bacon Belle Baranceanu Santa Barraza Jennifer Bartlett Virginia Berresford Camille Billops Isabel Bishop Lee Bontec Kate Borcherding Hilary Brace C Allie máj "AM" Carpenter Mary Cassatt Vija Celminš Irene Chan Amelia R. Coats Susan Crile D Janet Doubí Erickson Dale DeArmond Margaret Dobson E Ronnie Elliott Maria Epes F Frances Foy Juliette mája Fraser Edith Frohock G Wanda Gag Esther Gentle Heslo AMERICKÁ - AMES Strana 1 z 152 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Charlotte Gilbertson Anne Goldthwaite Blanche Grambs H Ellen Day -
Currier Museum of Art Exhibition History
Currier Museum of Art Exhibition History Year Title Dates Organized By Catalog Exhibition of Paintings and Sculpture, Antique Furniture and Currier Gallery of Art in Co-operation 1929 October 9 - 27, 1929 TRUE Tapestries at the Formal Opening of the Currier Gallery of Art with the Grand Central Galleries, NY October 12 - November Sponsored by the College Art 1931 Exhibition of Sculpture by Rodin TRUE 7, 1931 Association and assembled by 1932 Paintings by Pupils of Prof. F. Cizek of Vienna January 1 - 25, 1932 The Art Center of New York City FALSE 1932 Drawings by Public School Children of Paterson, NJ January 1 - 25, 1932 The Art Center of New York City FALSE 1932 Designs by Public School Children of Paterson, NJ January 1 - 25, 1932 The Art Center of New York City FALSE Early American Miniatures Loaned by the Ehrich Galleries of 1932 January 1 - 29, 1932 FALSE New York City 1932 Oils by Charles A. Aiken January 1 - 29, 1932 FALSE 1932 Architectural Drawings from the Cambridge School January 3 - 16, 1932 Cambridge School, MA FALSE Photographs of Houses and Gardens by the Cambridge School Cambridge School of Domestic & 1932 January 17 - 30, 1932 FALSE of Domestic & Landscape Architecture Landscape Architecture, MA Watercolors from the 65th Annual Exhibition of the American 1932 February 1 - 25, 1932 American Federation of Arts FALSE Watercolor Society in New York Sculpture - Bronzes of Horses by Richardson White of 1932 February, 1932 FALSE Brookline, MA Cambridge School of Domestic & 1932 Pencil Sketches by Kenneth J. Conant and Frank M. Rines of February, 1932 FALSE Landscape Architecture, MA the Cambridge School of Domestic & Landscape Architecture Miss Laura Bragg, Director, Pittsfield 1932 February, 1932 FALSE Design and Masks by E. -
Biographical Dictionary of Kansas Artists (Active Before 1945)
Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945. -
Annales Universitatis Paedagogicae Cracoviensis. Studia De Arte Et
304 Annales Universitatis Paedagogicae Cracoviensis ISSN 2081-3325 Studia de Arte et Educatione Error in Art 14 ∙ 2019 Kolegium Recenzentów prof. Grzegorz Banaszkiewicz dr hab. Jacek Dłużewski prof. dr hab. Ignacy S. Fiut dr hab. Rafał Jakubowicz dr hab. KingaAgnieszka Nowak, Kłakówna prof. ASP prof. Jarosław Modzelewski prof. Stanisław Rodziński prof. Stanisław Tabisz dr hab. Paweł Tański, prof. UMK dr hab. Feliks Tomaszewski, prof. UG prof. Jacek Waltoś prof. dr hab. Seweryna Wysłouch Radaprof. Grzegorz Naukowa Sztwiertnia Adam Brincken, Tadeusz Budrewicz, Franciszek Chmielowski, Bogusław Krasnowolski, Rita Mikučionyte, Richard Noyce, Romuald Oramus, Lucjan Orzech, Stanisław Rodziński, RedakcjaXenophon NaukowaSachinis, Barbara Simcoe, Milan Sokol, Seweryna Wysłouch Arkadiusz Póltorak, Krzysztof Siatka (zastępca redaktora naczelnego), Bernadeta Stano Redaktorzy(sekretarz redakcji), naukowi Diana tomu Wasilewska (redaktor naczelny), Karolina Kolenda, Krzysztof Siatka © Copyright by Wydawnictwo Naukowe UP, Kraków 2019 Wersją pierwotną tomu jest plik dostępny na stronie internetowej: http:⫽studiadearte.up.krakow.pl ISSN 2081-3325 e-ISSN 2300-5912 DOI 10.24917/20813325.14 Wydawnictwo Naukowe UP Redakcja/Dział Promocji 30–084 Kraków, ul. Podchorążych 2 tel./fax 12 662-63-83, tel. 12 662-67-56 e-mail: [email protected] http:⫽www.wydawnictwoup.pl druk i oprawa: Zespół Poligraficzny WN UP Introduction Technical errors that occur when a medium is used, as well as logical or cognitive er- rors, are commonly seen as challenges and obstacles in a creative process. Technical proficiency has been an indispensable and celebrated aspect of artistic practice from the very beginning of its modern history, indeed, its very essence, persistent- ly inhabiting the language used to describe popular and admired artworks. -
Dazzle Camouflage Author(S): Claudia T
Art at War: Dazzle Camouflage Author(s): Claudia T. Covert Source: Art Documentation: Journal of the Art Libraries Society of North America, Vol. 26, No. 2 (Fall 2007), pp. 50-56 Published by: The University of Chicago Press on behalf of the Art Libraries Society of North America Stable URL: http://www.jstor.org/stable/27949469 Accessed: 22-02-2018 00:29 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Art Libraries Society of North America, The University of Chicago Press are collaborating with JSTOR to digitize, preserve and extend access to Art Documentation: Journal of the Art Libraries Society of North America This content downloaded from 130.182.24.113 on Thu, 22 Feb 2018 00:29:29 UTC All use subject to http://about.jstor.org/terms Art at War: Dazzle Camouflage Claudia T. Covert Dazzle Painting? The painting of large patches of colour (sic) on warships, etc., as camouflage in time of war. Also Comb, in dazzle-paint, -painted, - In addition to the usual books, the Fleet Library at RISD painting, -pattern.1 (Rhode Island School of Design) has many interesting special ized collections: artists' books; picture, slide and video While it is easy to find information about camouflage in collections; special collections of nineteenth- and early twen general, what were these specific types of ship plans or designs tieth-century design portfolios and research materials in the like? Grove Art Online provides a good general overview.3 decorative arts; and archives relating to individuals associated Camouflage was first adopted by the French, when the service with the school. -
Distortion, Illusion and Transformation: the Evolution Of
FOLIA 304 Annales Universitatis Paedagogicae Cracoviensis Studia de Arte et Educatione 14 (2019) ISSN 2081-3325 DOI 10.24917/20813325.14.1 Camilla Wilkinson Distortion, Illusion and Transformation: the Evolution of Dazzle Painting, a Camouflage System to Protect Allied Shipping from Unrestricted Submarine Warfare, 1917–1918 In October 1917 the War Cabinet was notified in Admiralty Memorandum 2256 “Dazzle Scheme of painting ships” that artist Norman Wilkinson’s camouflage pro- posal to paint the entire external surfaces of vessels in highly contrasting asymmet- ric patterns would be applied to merchant and some naval vessels with the aim of disrupting the crippling effects on British commerce from Unrestricted Submarine Warfare waged by Germany in January of that year. This paper, based on close reading of the surviving archives of design material and documentation concerning the 14–18 War Dazzle camouflage scheme, provides a means to re-interpret the visual language of the designs that have been read (or misread) and popularised through contextualisation in art history and association with notions of avant-garde spatial practice since 1919. Testing and representing this argument has been achieved through drawing research methodologies as well as textual and archival research. Dazzle Painting was developed in response to a major offensive during the 14– 18 War by the U-boat section of the Imperial German Navy. Frustrated by British naval blockade of its ports, Germany declared the sea around Britain a war zone and waged Unrestricted Submarine Warfare on British and neutral merchant shipping. This resulted in enormous numbers of ships being sunk, causing1 considerable loss of life and loss of vital supplies to Britain and Allied nations. -
Everett Longley Warner Impressionist Painting Comes Back to Market After 106 Years in Family Collection
FOR IMMEDIATE RELEASE December 4, 2020 DuMouchelle Art Galleries 409 East Jefferson Ave. Detroit, MI 48226 313.963.6255 www.dumoart.com | [email protected] EVERETT LONGLEY WARNER IMPRESSIONIST PAINTING COMES BACK TO MARKET AFTER 106 YEARS IN FAMILY COLLECTION DuMouchelles December 18th Auction Features “October Sunshine” in Old Lyme, Connecticut DETROIT (Dec. 4, 2020) – DuMouchelles Friday, December 18 auction features a fresh to market period oil on canvas by American Impressionist, Everett Longley Warner (American 1877-1963) “October Sunshine”, depicting a sunny fall day with a woman and two children at the door of the Noyes-Beckwith House in Old Lyme, Connecticut. This work was painted between 1910-1912, when the house was owned by the Beckwith family, and when Warner was associated with the Old Lyme Art Colony along with American Impressionists such as Childe Hassam, Robert and Bessie Potter Vonnoh, and its founder, Henry Ward Ranger. The Noyes- Beckwith House was one of the oldest homes in Old Lyme (Old Lyme historic building 55) and its attic bedrooms were used to hide fugitive slaves as part of the "Underground Railroad". It was built by Moses Noyes II between 1700 and 1712 on the corner of Beckwith Lane and Old Lyme Street and was moved in 1816. In the 1870s the home was owned by Morrison Remick Waite, Chief Justice of the U.S. Supreme Court. One of his frequent summer visitors was President Rutherford Hayes. The original location of the Noyes-Beckwith House is where art patron and supporter of the Old Lyme Art Colony, Florence Griswold, built her home and is now the Florence Griswold Museum. -
Fooling the Iron Fish: the Inside Story of Marine Camouflage
fooling the iron fish Everett L. Warner (1919) 185 SHIP SHAPE: A Dazzle Camouflage Sourcebook MARINE CAMOUFLAGE would never have proved such an enigma to the public had it not been for an ingrained conviction that it Originally published as “Fooling was similar to the art of concealment as the Iron Fish: The Inside Story of Marine Camouflage” in Everybody’s practiced on land. The two have almost Magazine. November 1919, pp. nothing in common. Imitation plays an 102-109. important part on land, but it never enjoyed anything but a minor role in the work upon the ships. Even today there are a large number of people who persist in thinking that the conspicuous patterns, which look to the uninitiated like a cubist’s dream, are intended to simulate clouds or waves when seen at a suitable distance, and so render the ship invisible. The name “dazzle painting,” as the ultimate type of marine camouflage was christened in England, in order to distinguish it from painting aimed to reduce visibility, only served to add to the existing confusion, and many persons conceived the idea that its purpose was to dazzle the eye and make vision diffi- cult. On the contrary, the purpose of this type of Above The title page of Warner’s article as it appeared originally in Everybody’s Magazine. The camoufleurs in the photo include (left to right) Everett L. Warner, Frederick Waugh, John Gregory, painting was primarily to deceive the subma- Gordon Stevenson, Manley K. Nash, and M. O’Connell. On the wall above Warner’s head, there is a sign rine commander as to the actual course that a that reads “Keep It Simple.”—Ed.