Art at War: Dazzle 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

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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: 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. To this latter category belongs one of the Fleet de camouflage was established in 1915. The British joined suit in Library's most intriguing and unique collections, located in the 1916 with the British Camouflage Services and the Americans Special Collections department: a set of drawings of colorful ship with the American Camouflage Corps in 1917. Many European camouflage, or "dazzle" plans. Because the collection is not listed and American artists, such as Jacques Villon, Henri Bouchard, in the catalog and is stored in unlabelled folders, it is relatively Charles Dufresne, , and Grant Wood, were used unknown, even among library staff. This article hopes to rectify as camoufleurs. At first, camoufleurs mostly camouflaged equip that obscurity. ment: they made observation posts look like tree trunks, painted miles of canvas to look like roads, and created inflatable tanks. History of Camouflage Ship camouflage, or the above-mentioned dazzle, was developed Surprisingly, research reveals that the use of the word later in the war. Dazzle is a form of ship camouflage in which "camouflage" is relatively recent. The Oxford English Dictionary bright stripes and swirls of color are painted on ships in such a defines camouflage as: way as to confuse the enemy about the ship's course. The disguising of any objects used in war, such as camps, But where did camouflage originate? Abbott Thayer, an guns, ships, by means of paint, smoke-screens, shrubbery, artist interested in nature, published Concealing Coloration in the etc., in such a way as to conceal it from the enemy; also, the Animal Kingdom in 1909. Thayer defined two types of camouflage, disguise used in this way.1 blend and dazzle (also called disruptive patterning, or zebrage, or razzie dazzle).4 Blending occurs when an object blends in The OED's earliest example of the word's use is attributed to an with its background, and dazzle happens when an object is visu article in the Daily Mail in 1917. Furthermore, the word "dazzle" ally broken up by color and shape.5 In 1914, Sir John Graham was also coined that same year: Kerr hypothesized that a disruptive camouflage would work

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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 on ships, but the hypothesis was not tested or implemented.6 Futurism." Many believe that and dazzle must have During the war, P. Tudor Hart and four artists, Sydney and influenced each other.17 Richard Carline, Hugh de Poix and James Wood, considered the Wilkinson's instructions for creating the plans to paint a idea of using dazzle to camouflage ships, but the idea again was ship have survived: abandoned.7 It took an artist, a cold morning ride, and persis Divide the vessel amidships; paint the fore end white, and tence to implement a dazzle scheme for ships. the after end, say, No.2 blue. On the port side - fore end No.2 British Dazzle blue, and after end white.

From March to December 1917, German U-Boats This is a broad principle, but is subject to certain modi (Unterseeboot or under-the-sea-boat) sank 925 British ships.8 fications. For instance, a colour should never be allowed Norman Wilkinson, an artist and British naval officer, tells of to stop at an important constructional point, such as the his "eureka" moment: stern or centre of stern; consequently, either the white on starboard or the blue on port side should be carried round On my way back to Devonport in the early morning, in an the bow until checked by part of the dark pattern, and the extremely cold carriage, I suddenly got the idea that since it same time at the stern.18 was impossible to paint a ship so that she could not be seen by a , the extreme opposite was the answer?in The Dazzle Section found that the best paint colors were other words, to paint her, not for low visibility, but in such a black, white, blue, and green, and the best lines were sloping way as to break up her form and thus confuse a submarine lines, curves, and stripes.19 Many patterns were used; towards officer as to the course on which she was heading.9 the end of the war striped designs were settled upon as being the best. They broke up a ship's form very well and were easy Wilkinson explains his dazzle theory further: the reason to apply. As the war progressed, foreman painters became well why a ship cannot be made invisible is therefore the reason why trained and had a great deal of experience to bring to the task.20 dazzle works. The ship is broken up by "masses of strongly contrasted colour" thus making it difficult for a U-Boat to discern American Dazzle a ship's course. A U-Boat must accurately gauge a ship's course in order to execute a successful attack. In nature, many animals Although some German were painted in dazzle, blend into their habitat and are safe from predators. Land and the French, Italian, and Japanese all adopted a form of camouflage exploits this effect. However, it does not work for dazzle,21 it was the Americans who applied it more extensively. ships because they are moving and there are "two elements, sea In 1918, Wilkinson worked with the American Navy to come up and sky, subject to constant changes of colour and light" as well with dazzle plans for 1,000 American ships. These plans were as the horizon in the background. The motion of the sea, as well used on Navy, as well as merchant and passenger ships.22 as weather conditions, cause the horizon, sea, and sky to change The American approach to camouflage and dazzle was continuously. Wilkinson also points out that the coloration that decidedly more scientific than that of the British.23 There were allows animals to blend into their background and makes them three groups involved: the artists, the scientists, and the Shipping invisible on land would only work if a ship's paint was in perfect Board, via the Emergency Fleet Corporation. condition, not dirty or worn.10 And how could the ship's smoke was in charge of the artists at the Washington be concealed? But these issues are of little concern with dazzle camouflage office. His team consisted of Frederic Waugh (marine painting, because dazzle does not conceal?rather it distorts the painter), Gordon Stevenson (portrait painter), and John Gregory size, speed, and course of the ship.11 (sculptor) .24 They applied patterns to models and prepared plans,25 Wilkinson expressed his ideas in several letters to the Royal which were then submitted to the Camouflage Research Center, Navy, and some time later, he was told he could dazzle a ship. a part of the Eastman Research Laboratories in Rochester, If the results were favorable, his dazzle scheme might be imple NY, which was created to provide qualitative assessment and mented.12 The results were favorable, but the had no objective analysis of dazzle applied to ships.26 A physicist at the space for his project.13 Undaunted, Wilkinson found space for a Center, Loyd Anile Jones, invented the "Jones Visibility Meter" Dazzle Department?at the Royal Academy of Art in . which scientifically tested the effectiveness of dazzle plans.27 At the Research Center, only one artist was involved in the How a Ship Was Painted dazzle project.28 The Emergency Fleet Corporation was created by the The work began with a small-scale ship model made of Shipping Board during the war to handle the painting of wood. It was then painted by one of the team of women who American merchant ships as a priority. The Research Center were hired for the task, and then viewed through a submarine gave the Shipping Board design plans and recommended colors against different color skies. Next, a plan maker took while the district camoufleur supervised the dazzle painting of the model and created profile plans on l/16th scale. Finally, an the ships.29 Many artists and architects were recruited as district Outport Officer at a port used the plans to have the ship painted camoufleurs. Artists such as Louis Bouche and Thomas Hart accordingly.14 , a Vorticist painter, was also Benton made sketches of the ships being painted as a form of an Outport Officer, and supervised the painting of over 2,000 quality control.30 ships within one year.15 Wadsworth's job inspired numerous During many ship camouflage methods were paintings and woodcuts such as Dazzle Ships in Drydock at tried. The main ones were low visibility concealment, course Liverpool.16Quite a few similarities maybe found when comparing , dazzle, and combinations of those three. The following dazzle with Vorticism, "the English variant of and Italian artists were involved in creating the various schemes:

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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 Figure 2. Ship Camouflage Plan, Type 9, Design 1, port side, SS Massachusetts. Designer unknown, c.1918. Digital image scanned by Claudia Covert and Janis Manzo.

William Andrew Mackay?Mackay Low Visibility System31 When Picasso saw dazzled cannons in , he commented George de Forest Brush?Brush Counter-Shading System32 "It is we who have created that."42 Charles DeKay, in "Ships Maximilian Toch?Toch Disruptive/Low Visibility System33 That Fade Away" also saw the link between contemporary art Lewis Herzog?Herzog Low Visibility/Disruptive Systems34 and dazzle: Everett Langley Warner?Warner Disruptive Dazzle System35 "That this kind of Cubist painting on a colossal scale should Eventually, the Research Center recommended one scheme have proved useful in the world war is only one more for the Shipping Board that was very similar to the dazzle scheme example of the fact that you can never tell!"43 of the British.36 Used from 1917 to 1918, it was called "United And shortly after the war, journalist Hugh Hurst wrote: States Navy Dazzle Painting.,, The design, heavily influenced by William Andrew Mackay, consisted of irregular patterns of It was necessary frequently for vessels to have their dazzle strongly contrasting colors, including blue-grey, blue, white, designs altered ... Ships so treated would creep back in to black, grey, grey-white, green, grey-green, grey-pink, blue grey, port with a particularly odd-looking coat of many colours, and blue.37In just under two years, the Research Center approved the wear and tear of a winter journey across the Atlantic 495 designs, of which 302 were applied to merchant ships while having played havoc with the fresh paint of her new design, the rest were applied to navy ships. As of March 1918, a total of causing the old one to appear in patches. Observers spoke approximately 1,250 ships were camouflaged.38 Implementation of ships developing 'dazzle leprosy' after only a couple of months at sea.44 of dazzle by merchant ships may have been stimulated by the fact that the War Risk Board charged more to insure ships that Did It Work? were not camouflaged in some way.39 Reactions to Dazzle In 1918, an official "Committee for Dazzle Painting" was formed by the British Government to study whether dazzle What was the public's reaction to dazzle and dazzle-painted painting was effective: ships? A few pertinent quotes speak for themselves, such as this After careful study of all the evidence, no clear argu one, which described a fleet of dazzled ships as "a flock of sea ments, in our opinion, can be made in favour of this type of going Easter eggs."40 camouflage. At the same time, however, the statistics do not Or this one, by British composer of musicals and humorous indicate that it has had any negative effects, and keeping in songs, G. Frederic Norton: mind the undeniable improvement of self-confidence and Captain Schmidt at the periscope morale among the men and officers of the Merchant Marine You need not fall and faint due to this camouflage?a factor of inestimable importance For it's not the vision of drug or dope, as well as the low added costs per ships we consider it advis But only the dazzle-paint. able to continue with the dazzle system.45 And you're done, you're done, my pretty Hun. It was found that a number of dazzle ships were hit by You're done in the big blue eye, U-Boats but most made it to port safely because the ships were By painter-men with a sense of fun, not hit in a vital area. It was felt that this supported the effec And their work has just gone by. tiveness of dazzle as the U-Boat commander, even up close to a Cheer o ! ship, was unsure of the ship's actual course.46 However, the HMS A convoy safely by.41

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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 Figure 3. Ship Camouflage Plan, Type 9, Design 1, starboard side, SS Massachusetts. Designer unknown, c.1918. Digital image scanned by Claudia Covert and Janis Manzo.

Pata was sunk by a U-Boat in 1918, in spite of its dazzle scheme "Form No. 1, Navy Department, Bureau of C & R [Construction consisting of black, white, green, red, and fuchsia.47 & Repair], Washington, DC." The upper right-hand corner Much like the British, the Americans found that dazzle contains information about the type number, design letter, port did boost morale.48 Of the 1,250 ships that were dazzled as of or starboard, scale, length, and colors with the note ".. .Colors of March 1918, only eighteen were lost. During the same period, plan are for the purposes of measurement only...actual colors seventy-eight uncamouflaged ships were lost. Of the eighteen as per color chart." Sometimes the number of tons and a ship's dazzled ships, four were sunk in accidents, and three were name or type is also listed in the upper right-hand corner. In the destroyed by mines; therefore less than one percent of U.S. bottom right-hand corner, the print number is listed as well as dazzled ships were sunk.49 "approved by" and a signature by "Naval Construction USN." In 1920, the Navy established a camouflage Many of the RISD prints have initials in this corner. The draw training school led by William Andrew Mackay. The school ings show bow, bridge, midship superstructure, stern, break carried out camouflage experiments and created the Handbook of fo'c'sle, and break of poop. Colors are labeled; for example, on Ship Camouflage, published in 1937. The Handbook contained "2BG" refers to the color chart in the upper right-hand corner, an evaluation of dazzle and directions for how to apply various "no 2 blue gray." Many of the prints are stamped: "From the camouflage patterns to ships.50 But by World War II, disruptive Office of M. L. Freedman, District Camoufleur, 4th District, U.S. patterns were not used widely because of new measures51 and Shipping Board, Emergency Fleet Corporation, Heard Building changes due to air warfare and radar.52 Jacksonville, FLA (sic)." Discontinued dates of various times in 1918 are stamped on some prints. The RISD Collection The collection also includes a copy of a letter describing the During World War I, Maurice L. Freedman was a District filing and recording system of the camouflage section, along Camoufleur in the 4th District of the US Shipping Board. In 1918 with the subjects under which the correspondence was filed.54 and 1919 he attended RISD to study decorative design as well A sample camouflage record is also part of the collection. as freehand drawing and painting. According to the Library Something like a timecard, it has spaces for the following infor Annual Report of 1919, he donated to the RISD Library "charts mation: color and amount of paint, amount left on board, and and directions for camouflaging ships and samples of colors amount returned; name of ship; date; paint furnished by; notes; used."53 Today the collection consists of nearly four hundred and spaces for the signatures of the contractor, foreman, and discontinued plans for the short-lived dazzle ships. The collec assistant foreman, along with spaces for painters and riggers to tion also includes twenty black-and-white photographs of World work Sunday through Saturday. War I dazzled merchant ships. Unfortunately, the whereabouts Included in the collection is a copy of the constitution of the of the "samples of colors used" is unknown. American Society of Marine Camoufleurs. This society was based in District 2, New York, but it included non-resident members. Description Annual dues were one dollar and members met monthly. Members were "Any man who shall be appointed to the position The collection contains about four hundred drawings, each of Camoufleur in the U. S. Shipping Board." one foot by three feet with some color. For each design there are All except one of the twenty black-and-white photographs two plans: one for the starboard side of the ship and one for the are mounted on cloth. The names of the ships are usually written port side. On the upper left-hand corner of each plan is noted: on the back; for example:

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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 SS Everglades #32 Other Collections and Resources Oscar Daniels Shipyard Tampa Fla (sic) , London, UK Launched July 29 1918 http: / /www.iwm.org.uk/ HMS Belfast is part of the First ship launched in the U.S. already camouflaged museum and is painted in a disruptive pattern scheme. The museum has a collection of Admiralty Dazzle designs and Many photographs have typed statements certifying that they photographs. were completed correctly to plan: Camouflage exhibit - March 23 - November 18, 2007 I certify that this photo was taken at the yard of J. M. Murdock Jacksonville, Fla (sic) on 9/2/18 and is corectly http: / /london.iwm.org.uk /upload /package / 78 /site /index, (sic) described on its face. htm Includes American Dazzle Camouflage cut outs from the National Archives in Washington, DC (see http://www. archives.gov/ exhibits/ designs_for_democracy/ designs_for_ H L Kendle, Resident Inspector SS Harish Hull #375 a_ne w_century / designs_f or_new_century_page_2 .html#). Launched Sept 2,1918 (Labor Day). Naval Historical Center Library, Washington, DC http://www.history.navy.mil/ The library has a collection Class Use of American dazzle designs and photographs. Roy R. Behrens Web site One to two RISD classes a year use the collection for various class assignments. The Digital Nature Class comes every year http://www.bobolinkbooks.com/Camoupedia/ to be inspired for its camouflage project, for which students are DazzleCamouflage.html Roy teaches graphic design and required to select an object from nature and create a camouflage design history at the University of Northern Iowa. He has shell. The purpose of this class is to "find a way to infuse digital written a great number of books and articles on camouflage imagery with the organic fluidity found in nature."55 and in particular dazzle painting. His Web site has many images of dazzle painted ships. Access to the Collection U.S. National Archives and Records Administration, College Park, MD RISD's dazzle painting collection is located in Special Collections at the Fleet Library at RISD, 15 Westminster St., http: / / www.archives.gov /dc-metro /college-park/ Providence, RI. Requests for on-site use of these materials index.html Has 4,503 items described as "Camouflage are made in the Archives + Special Collections Reading Design Drawings for U.S. Navy Commissioned Ships, U.S. Room on the 2nd floor. Individual research consultations and Merchant Ships and British Ships, 1917-1919." group presentations are available by calling 401-709-5923 or 401-709-5927 for an appointment. Acknowledgments The author would like to thank Matt and Abigail Lebowitz Future Projects for their "dazzling" support. Future projects planned for this collection include an inven tory, digitization, preservation, and creation of a Web site about Notes the collection, including its history, list of resources, and links to other similar collections. 1. "Camouflage," Oxford English Dictionary Online, http:/70 dictionary.oed.com.ribrary.risd.edu:80/ (accessed May 11,2007). At present, staff is being trained in proper handling and 2. "Dazzle," Oxford English Dictionary Online, http://0 scanning of the collection to develop a scanning workflow. Work dictionary.oed.com.library.risd.edu:80/ (accessed May 11,2007). has begun on a metadata structure for cataloging, a scanning 3. Roy R. Behrens, "Camouflage/'Grofe Art Online, schedule, and running test scans. http: / /0-www.groveart.com.library.risd.edu:80/ (accessed The goal for 2007 is to begin to scan and inventory the May 11, 2007). collection. While handling the work, a review of each drawing's 4. Guy Hartcup, Camouflage: A History of Concealment and physical condition and the collection's overall storage needs will Deception in War (New York: Scribner's, 1980), 42. be addressed. Acquiring a grant for preservation and housing 5. Roy R. Behrens, "Blend and Dazzle: The Art of Camou is also being explored. Ideas for accessing the digital surrogates flage." Print 45 (January/February, 1991): 93. include a Web-based exhibition or a collection (personal or other) hosted in ARTstor. 6. Hartcup, Camouflage, 40. 7. Ibid., 41. Further research is required on this topic to find out 8. Roy R. Behrens, False Colors: Art, Design, and Modern more about the collection, the circumstances of its dona Camouflage. 1st ed. (Dysart, IA: Bobolink Books, 2002), 83. tion, and in particular, about the RISD alumnus who was the 9. Norman Wilkinson, A Brush with Life (London: Seeley, donor. It is hoped that a visit to the National Archives and the 1969), 79. Navy Historical Center Library in Washington will be fruitful. 10. Scottish Arts Council. [Camouflage] (Edinburgh: A visit to the Imperial War Museum in London might also Scottish Arts Council, 1988), unpaged 1. yield more detail about the origins and history of the dazzling 11. Ibid., 2. "dazzle" ships. 12. Wilkinson, A Brush with Life, 81. 13. Ibid., 83.

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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 14. Scottish Arts Council, [Camouflage], unpaged 9. Report (Providence, RI: Rhode Island School of Design Library, 15. Ibid., 2. 1919). 16. Behrens, "Camouflage." 54. A description of the Plan Filing System: System 17. Albert Roskam, "Dazzle-Painting: Kunst Als Tarnung, Blueprint cabinets?size 4/6,/ long 2" wide 3'6" deep, Tarnung Als Kunst =Dazzle Painting: Art as Camouflage, containing ten envelopes each, in which eight different designs Camouflage as Art," Daidalos 51 (March 15,1994): 114. of one type of ship can be placed, are used in this office for 18. Scottish Arts Council, [Camouflage], unpaged 10. the filing of all the plans received from the Home Office. 19. Ibid., 11. Upon receipt of a set of plans from the Home Office, they are 20. Ibid., 8. immediately checked up and acknowledged after which three 21. Scottish Arts Council, [Camouflage], unpaged 12. port and three starboards of each plan are selected and placed 22. Behrens, "Camouflage." in their respective envelopes in the "Plan" cabinet. The cabinets 23. David Williams, Liners in Battledress: Wartime Camou in question are so constructed that when opened, the front is flage and Colour Schemes for Passenger Ships (St. Catharines, Ont: raised and forms a drawing table which is most convenient for Vanwell, 1989), 69. the use of the Camoufleurs, thus eliminating separate drawing 24. Behrens, False Colors: Art, Design, and Modern tables for the studio. Camouflage, 94. 55. Rhode Island School of Design Registrar's Office, 25. Ibid., 95. "Wintersession 2007 Course Catalog" Rhode Island School 26. David Williams, Naval Camouflage, 1914-1945: A of Design Registrar's Office, http: / /intranet.risd.edu/pdfs/ Complete Visual Reference (Annapolis, MD: Naval Institute Press, 2007wscat.pdf. 5. 2001), 10-11. 27. Ibid., 223. Additional Sources Consulted 28 Williams, Liners in Battledress: Wartime Camouflage and Behrens, Roy R. Art & Camouflage: Concealment and Deception in Colour Schemes for Passenger Ships, 69. Nature, Art, and War. Cedar Falls, IA: North American Review, 29. Ibid., 75. University of Northern Iowa, 1981. 30 Behrens, False Colors: Art, Design, and Modern Camouflage, 95. Blechman, Hardy. Disruptive Pattern Material: An Encyclopedia of 31 Williams, Naval Camouflage, 1914-1945: A Complete Visual Camouflage. Richmond Hill, Ont: Firefly Books, 2004. Reference, 39. 32. Ibid., 37. Bowditch, Nancy Douglas. George De Forest Brush: Recollections of a 33. Ibid., 43. Joyous Painter. Peterborough, NH: Noone House, 1970. 34. Ibid., 38. Burgess, Douglas R. Seize the Trident: The Race for Superliner 35. Ibid., 44. Supremacy and How it Altered the Great War. Camden, ME: International Marine/McGrawHill, 2005. 36. Williams, Liners in Battledress: Wartime Camouflage and Colour Schemes for Passenger Ships, 151. Chesney, Clement, Hope Rawdon, and J. Huddlestone. The Art of 37. Williams, Naval Camouflage, 1914-1945,52. Camouflage. London: R. Hale Ltd., 1941. 38. Williams, Liners in Battledress, 78. Cork, Richard. //Vorticism.,, Grove Art Online. Oxford University Press, 39. Williams, Naval Camouflage, 1914-1945,11. http: / /0-www.groveart.com.library.r?sd.edu:80/ (accessed May 40. Stephen Patience, "The Art of War," World of Interiors 11,2007). 25, no. 1 (January, 2005): 120. Faulkner, Barry. Barry Faulkner: Sketches from an Artist's Life. Dublin, 41. Roy R. Behrens, "Art, Culture and Camouflage," Tate NH: W.L. Bauhan, 1973. etc. 4 (Summer, 2005): 54. Hampshire, Mark, and Keith Stephenson. Communicating with 42. Patience, "The Art of War," 120. Pattern: Stripes. Mies, Switzerland: Roto Vision, 2006. 43. Behrens, False Colors: Art, Design, and Modern Camouflage, 85. Heston, Charlton. "Tools of Deception." Documedia Group; 44. Jonathan Black and Edward Wadsworth, Edward Distributed by Time-Life Video, 1998. Wadsworth: Form, Feeling and Calculation: The Complete Paintings Howarth, Stephen. To Shining Sea: A History of the , 1775-1998. Norman, OK: University of Oklahoma Press, and Drawings (London; New York: Philip Wilson; Distributed in 1999. North America by Palgrave Macmillan, 2005), 33. 45. Roskam, "Dazzle-Painting: Kunst Als Tarnung, Johnsrud, Even Hebbe. "Randbemerkninger: Kunst Og Tarnung Als Kunst = Dazzle Painting: Art as Camouflage, Kamuflasjekunst." Kunst Og Kultur 77, no. 3 (1994). Camouflage as Art,"114. Le Witt, Sol, and Garry Garrels. Sol Lewitt: A Retrospective. San 46. Scottish Arts Council, [Camouflage], unpaged 12. Francisco; New Haven: San Francisco Museum of Modern 47. Patience, "The Art of War," 120. Art; Yale University Press, 2000. 48. Williams, Naval Camouflage, 1914-1945: A Complete Newark, Quentin. "Naturalists." Creative Review 17, no. 3 (March Visual Reference, 11. 1997): 39-40. 49. Williams, Liners in Battledress, 78. Newark, Timothy. Camouflage: Now You See Me, Now You Don't. 50. Williams, Naval Camouflage, 1914-1945,12. London: Thames & Hudson, 2007. 51. Ibid., 14. 52. Ibid., 15. 53. Rhode Island School of Design Library, Library Annual

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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 Newark, Timothy, Quentin Newark, and J.-F. Borsarello. Brassey's Tucker, Spencer, Laura Matysek Wood, and Justin D. Murphy. Camouflage: A History of Camouflage Uniforms. 1st English ed. The European Powers in the First World War: An Encyclopedia. London: Brassey's, 1996. Garland Reference Library of the Humanities 6. New York: Garland, 1996. Roskam, Albert. "Dazzle Painting: Arte Come Camuffamento, Camuffamento Come Arte." Casabella 53 (May 1989): 24-26. Wadsworth, Barbara. Edward Wadsworth: A Painter's Life. Salisbury: Russell, 1989. Roskam, Albert. Dazzle Painting: Kunst Als Camouflage, Camouflage Als Kunst. Rotterdam: Stichting Kunstprojecten; Van Spijk, 1987. Claudia T. Covert, Readers' Services Librarian, Stackhouse, Glenn Ansel, Jr. "The Anglo-American Atlantic The Fleet Library at RISD, Convoy System in World War I, 1917-1918." (Volumes I and [email protected] II). PhD diss., University of South Carolina, 1993.

ARLIS/UK & Ireland Annual Conference University of Liverpool, UK Wednesday 23 - Friday 25 July 2008

Applications are invited for a single fully-funded place* for delegates from outside the UK and Ireland to attend the ARLIS/UK & Ireland Annual Conference:

International Delegate Award

University of Liverpool, 23 - 25 July 2008

To apply for the award, please submit the following by post by Friday 2nd May 2008: 1. A completed application form (see: www.arlis.org.uk or from the address below) 2. A r?sum? listing educational background, employment history and professional activities.

The winner must confirm in writing that he/she is able to meet the requirement of conference attendance. The recipient will be expected to submit a post-conference report to the ARLIS/UK & Ireland Council. The decisions of the Council of ARLIS/UK & Ireland and its Grants Panel shall be final, and no correspondence regarding these shall be entered into. The Council of ARLIS/UK & Ireland reserves the right to make no award if no suitable application is received.

*NB The award does not include travel costs

Application papers should be returned to the Business Manager at the address below.

For further information on the Annual Conference 2008 please check the ARLIS/UK & Ireland website: www.arlis.org.uk or contact: The Business Manager, ARLIS/UK & Ireland, Word & Image Department, V&A South Kensington, Cromwell Road, London, SW7 2RL Email: [email protected]

56 Art Documentation ? Volume 26, Number 2 ? 2007

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