Seventy-five women had already joined and as many as four a day were signing up. “An appeal has been issued to women artists urging them to enroll in a camp for the training of women camouflage workers,” it said. 3, 1917, newspapers picked up a wire service report that reported about the camouflage school. When the male camoufleurs went off to war, the ladies took over at home. By December, the camoufleurs had their own section, Company A of the 40th Engineers.ĭazzled by the Faulkner Murals at the National Archives. But by the end of July, a military mission sent to Europe recommended the Army Corps of Engineers create a 260-man “camouflage park.” In September, the first recruits reported to camp in Washington, D.C. As usual, the War Department didn’t have much interest.
They offered their services to the War Department. They formed the New York Camouflage Society, a group that included Gerald Thayer, Thayer’s cousin Barry Faulkner, Brush’s son Gerome and Homer Saint-Gaudens, son of the Cornish, N.H., sculptor Augustus Saint-Gaudens. artists began to promote the art of camouflage. entered the war in April 1917, a younger generation of U.S. And in In Australia and New Zealand, women made camouflage nets to disguise guns from the enemy’s aerial photographers. They, too, painted thousands of battleships in dazzle patterns. The French had also formed a special camouflage unit in 1915, and called its artists camoufleurs. Norman Wilkinson painting of a battleship painted in a dazzle design, 1918.
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