Historical Panorama of Alabama Agriculture facts for kids
The Historical Panorama of Alabama Agriculture is a special collection of murals. These artworks were created for the Alabama State Fair in 1939. The Alabama Extension Service asked for them, and the Works Progress Administration (WPA) helped pay for them. The fair took place in Birmingham, Alabama, from October 2 to 7.
An artist named John Augustus Walker from Mobile, Alabama, was chosen for the project. He had worked on other WPA art projects before. Walker was supposed to paint 29 murals. Each mural would show a different scene from Alabama's farming history. But because he had limited time, he could only finish ten murals.
These ten murals showed important moments in Alabama's farming story. They started with how Native Americans farmed and moved through later developments. This project was part of a bigger WPA effort. The WPA helped artists find work during the Great Depression. It also encouraged people to enjoy art.
Walker was 37 years old when he painted these murals. The WPA funded many projects like this. They aimed to support artists and celebrate American culture during tough economic times. Art experts today see these murals as great examples of public art from the Great Depression era.
Contents
Discovering Alabama's Farm History
How the Murals Came to Be
The director of the Alabama Extension Service, P. O. Davis, believed that farming in Alabama was changing. He said it was "a change toward improvement and progress."
Davis explained that Alabama was growing beyond just cotton. It was adding "cotton and other cash crops plus livestock and poultry." He saw the murals and fair exhibits as more than just a look back. He wanted them to help farmers imagine "a vision of the future." He also wrote that the murals would show how Alabama farming was "geared to go forward in a big way." Davis thought the murals were a great way to teach. They could help "guiding farmers as to what to do and how to do it."
State fairs were very popular places for education during the 1930s. Farming exhibits were a main attraction at these fairs. Bruce Dupree, an art expert from the Alabama Cooperative Extension System, described the scene:
Fairgoers would move excitedly through crowded buildings. They came to see prize-winning animals, colorful quilts, and farm displays. They also watched baking contests and canning demonstrations. Each of Alabama's 67 counties had a space. They showed off local produce and specific farm industries.
Managing all these exhibits was a big job for fair organizers. They looked for new ways to display agricultural items. The Historical Panorama of Alabama Agriculture was one such idea. Warren Leech, a Vice President, wanted a new way to show off Alabama farming. He planned to combine all the separate county exhibits into one big show. Leech visited Davis in Auburn to share his ideas. Davis quickly saw this as a chance to highlight the work of the Alabama Extension Service. He also wanted to show the role of the Alabama Polytechnic Institute (now Auburn University) in improving the state's food and fiber industries.
Bringing the Art to Life
In May 1939, a report to Davis said the mural project was "in good hands." It was expected to be "unusually successful." Extension employees visited Walker in Mobile. They told Davis they were sure the panorama would "present Alabama agriculture in a most interesting way." They believed the whole series would "make a very strong impression" if explained well.
The project planners were also happy with the cost. With the WPA helping to pay, they felt they were getting $6,000 worth of murals. They only paid "approximately the cost of materials involved."
The planners didn't just leave everything to Walker. They were involved in the creative process. Davis and other Extension employees cared a lot about historical accuracy. For example, in April 1939, Donald Robertson, an editor, told Walker to change a sketch. It showed a man in a Native American farming scene. Robertson asked him to use a woman instead. He explained that "according to Indian Legend, the women did most of the field work." Robertson also suggested another picture. It would show "the arrival of women folks on the farm and perhaps one or two children." This would represent the start of a complete farm family.
Walker's sponsors from the Extension Service and the U.S. Department of Agriculture were very involved. They gave detailed instructions. This included choosing and placing objects in front of the murals. For instance, each mural was to have a fabric border. A table in front would hold produce, farm tools, or household items. These items would complete the artwork.
H.T. Baldwin wrote instructions that the objects "should be 100 percent pertinent to the stage of development represented by the mural." Baldwin worked for the USDA's Extension Exhibits Division. He was one of many experts who traveled to advise state Extension services. He also ensured quality for visual projects related to Cooperative Extension.
Baldwin also suggested putting more objects in the foreground. This would mean Walker wouldn't have to paint as much detail. Because of the lighting, he also recommended using dull-finish colors. Oil paints would create a shiny surface.
He also advised Walker to add signs with descriptions. This would help visitors "absorb" the information from all the murals. Baldwin even suggested painting the hall's interior in the school colors of API.
This project was very demanding for Walker. He had his regular job and a serious family illness at the time. With only three weeks left before the fair, the project was made smaller. It was cut down to 10 murals. Walker was also given full power to buy any materials needed. He could fill the empty spaces left by the 19 unfinished paintings. He ordered 40 new spotlights, over 600 yards of fabric, and hundreds of feet of rope. He also bought all the crepe paper he could find to cover the exhibit hall ceiling.
The finished murals were about 7.5 feet tall and 5.5 feet wide. Walker painted them with tempera, a water-based paint. Tempera is less durable than oil paints, which Walker preferred. He used tempera because the murals were only meant to last for the fair.
The Murals at the Fair
The fair and the panorama were very popular and successful. Huge crowds filled the fairgrounds day and night. The Governor at the time, Frank Dixon, praised the fair. He called it "the best ever and a model for the entire nation to see." The fair was also featured on the front page of newspapers for five days in a row. People seemed more interested in the farming and industry exhibits than in the rides and games.
What Happened Next?
Right after the Alabama State Fair, the murals were carefully packed. They were shipped to Shreveport, Louisiana. There, they were displayed at the Louisiana State Fair, from October 21 to 30, 1939.
Sometime after the Louisiana State Fair, the murals were moved to Auburn University. They were stored in Duncan Hall. This building was the main office for the Alabama Extension Service. The murals stayed there, mostly forgotten, for about 45 years. They were rediscovered in the early 1980s. After that, they were cleaned up and displayed in the Foy Student Union at Auburn University.
After their rediscovery, some people wanted to buy the murals from Auburn University. They hoped to return them to Walker's hometown of Mobile. However, the murals remained in Auburn. In 2006, Auburn University celebrated its 150th anniversary. As part of this, the Alabama Cooperative Extension System, with Bruce Dupree's help, brought the paintings back into public view. This happened more than 20 years after their rediscovery. There was a public talk and an exhibit in the Foy Union Student Union Gallery. Walker's son and grandchildren attended. They greeted visitors and answered questions about the artist and his work.
