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Among the many alphabet agencies established by the New Deal government during the Great Depression, several were established to give relief to unemployed artists: TRAP (Treasury Relief Art Project), PWAP (Public Works of Art Project), The Section (Treasury Section of Fine Arts), and FAP (Federal Art Project). The PWAP and FAP were entirely relief measures, run through the CWA (Civil Works Administration) and the WPA (Works Projects, later Progress, Administration), which meant that all artists employed had to come from the relief rolls. The other two projects, TRAP and the Section, had relief and the production of quality art in small-town America as combined goals. The administration of the two types of programs was also different. The PWAP and FAP were administered locally in each state, while TRAP and the Section were administered by the Treasury Department from a central Washington office run by Forbes Watson and Edward Bruce. This office selected all the artists and reviewed the progress of work for quality control. TRAP was a fairly short-lived early New Deal program which sponsored easel painting and other smaller works of art for federal buildings. The program that produced the large numbers of murals and sculpture that can still be found across America was the Treasury Section of Fine Arts.
The Treasury Section of Fine Arts was established in October of 1934. It was to be a companion to the construction of federal buildings, which came under the Treasury Department at the time. Originally 1% of the cost of any new federal structure was to be set aside for the decoration of the structure, an arrangement which never worked. The two most common structures built under the New Deal were post offices and courthouses. In the end not all the buildings constructed during this period received decoration, but twenty-four works were created in Alabama (a typical number for a state of its size), twenty-three in post offices and one in a courthouse. Several other murals were proposed for Alabama but never completed.
The standard New Deal post office carried a decorative allotment of $650-750, covering a space about twelve by five feet above the postmaster's door. The courthouses, larger and more costly, could pay a commission of $3,000 and covered much more extensive surfaces. From the allotted funds the artist was required to purchase all the necessary supplies and pay the costs of installation and photographs. Payment to the artist came in three installments: when the initial sketch was approved, when a scale drawing was approved, and when the final panel was verified as in-place by the local postmaster.
Although the Section remained committed to many of its original ideals (to produce high quality art for small-town America, to use local talent whenever possible, and to encourage local participation) they soon realized that anonymous competitions were too difficult for the small post office commissions. No such competitions were ever held in Alabama. The artists who produced murals in Alabama received the award based on work submitted for other sites, or for work done previously in Treasury programs.
The largest competition undertaken by the Section, the 48 States Competition, was in 1939. Over 3,000 entries were judged and the winning entries were placed in one post office in each state. The winner for Alabama was the mural by Robert Gwathmey in Eutaw, although his submitted sketch was actually for his home state of Virginia. The winners of the 48 States Competition were exhibited around the country and then shown in Life magazine in December of 1939.
The Section suggested that they had no particular preference in style or school of painting, but their clear favorite was contemporary realism or regionalism. Symbolic allusions, social protest, or abstract works were generally critiqued by the Washington office as inappropriate for small-town America. The Section also had its favorite themesthemes that could easily be worked into their preferred style. On their list of acceptable subjects were local or historical places or events, people of local fame, or scenes of daily life or postal history.
An artist invited by the Section to produce a mural was encouraged in an initial letter to visit the site if possible or at least to write to the postmaster and important local citizens for suggested topics. The public, in most instances, was helpful and encouraging when asked, but occasionally demanding on the artist and the Section when their wishes were not met, and publicly critical when mistakes were found. In the vast majority of cases, at least in Alabama, the system worked well and both the artists and the public seemed pleased with the results. All but a few of the Alabama works were received with admiration when they were put in place and many of the artists reported to the Section that they had been well-treated during their stays in the towns. The murals generally remain sources of local pride and are well-preserved and well-liked. Of the twenty-four works produced in Alabama only one is missing today. Several have been moved to new locations, and several of the buildings have been given new functions.
Locations of Alabama's Section murals and sculptures with name of artist, date of production, and descriptions:
(* indicates an Alabama artist)
Alexander City: "Cotton, Tobacco, and Wheat," Franc Epping, 1941.
The Alexander City work is one of only three
sculptural works produced in Alabama. Epping
produced three terra cotta reliefs showing the main
agricultural products of the state--tobacco, wheat,
and cotton--along with depictions of seasonal
activities. The Section praised her work as handsome
in form and sensitive in modeling and the town of
Alexander City was well pleased with the results.
Atmore: "The Letter Box," *Anne Goldthwaite, 1938.
Goldthwaite, a Montgomery artist, used the suggested
Section theme of postal history for both of her
Alabama murals, this one and her panel in Tuskegee.
In this panel she shows a group of rural children
eagerly gathering to await the daily mail delivery.
Bay Minette: "Removal of the County Seat from Daphne to Bay Minette," Hilton Leech, 1939.
Leech chose a local scene of history for his
panel, the removal of the Baldwin County seat from Daphne to
Bay Minette. The event took place on October 1, 1901,
when a group of citizens from Bay Minette went to
Daphne, by dark of night, and gathered all the records
of Baldwin County to take them to Bay Minette. For
years before 1901 Daphne had served as the county
seat. When the state changed the county seat to Bay
Minette the citizens in Daphne refused to give up the
records, so they were "stolen." This is one of the
murals which has been moved from the original post
office to a new location, the new post office. When
the painting was moved, it was also cleaned and
restored.
Brewton: "Logging," John von Wicht, 1939 (missing).
The Brewton mural is the one mural which today is
missing. Originally
from Germany, but in 1939 a resident of New York City, von Wicht chose as his theme the early history of the lumber
industry in the area around Brewton. When it was
installed it was met with many favorable comments by
the postmaster and the citizens in Brewton.
Carrollton: "Farm Scene with Senator Bankhead," Stuart R. Purser, 1943.
Several local groups from Carrollton and the
postmaster had written to Washington to request that
their town be given a mural and that it honor and
depict U. S. senator John H. Bankhead, Jr., who had helped them secure
the federal building/post office it was to decorate.
The mural was awarded to Stuart Purser of Louisiana,
who complied with the thematic choice of the citizens
of Carrollton. The final panel shows Bankhead talking
with a farmer in front of a typical Alabama farm using the newer methods of terracing and field
rotation introduced by the Bankhead farm programs.
When the mural was completed the head of the
Carrollton Civic Club wrote to the Section: "We are
very proud of the mural and it looks so well in place.
I think Mr. Purser caught the idea we had in mind and
has put in the picture not only the atmosphere of our
county but conveys as well the thought that Mr.
Bankhead was particularly interested in that part of
life."
Enterprise: "Saturday In Enterprise," Paul Arlt, 1941.
Arlt, of Richmond,
Virginia, received the commission on the basis of an
entry in the 48 States Competition. Arlt produced a
cityscape of downtown Enterprise at the corner of the
famous boll weevil monument.
Eutaw: "The Countryside," Robert Gwathmey, 1941.
The panel by Gwathmey was the Alabama winner of
the 1939 48 States Competition. Although Gwathmey had
entered the competition with a panel designed for the
post office in Phoebus, Virginia, he was invited to
rework his design for the Alabama site. Gwathmey wrote
to the postmaster and the local newspaper editor for
ideas. When he got no reply from them he visited the
site and discussed a possible theme with the local
county agricultural agent. He settled on a local lumber industry scene: the method of
stacking pine boards for drying. Although today considered a very nice work, this was
one of the few Alabama works which did not receive an
enthusiastic initial review. When the postmaster at
Eutaw wrote to the Section to verify the panel's final
installation he included a short note: "We have but
one newspaper and I asked the editor to give the mural
a write up in the next issue, and was told that he had
nothing to say."
Fairfield: "Spirit of Steel," *Frank Hartley Anderson, 1938.
Anderson, an Alabama artist, produced probably the most
direct illustration of a local industry. The scene
and its relationship to Fairfield were described by
Anderson in a letter to the Section: "Fairfield itself is entirely devoted to steel and iron, this covering of course the mining of coal and iron and the quarrying of limestone and dolomite, bringing them together and making iron, then steel, and into the finished bars, plates, structural steel, wire and nails. The central motif, in the center, rear, is the converter 'up,' which Fairfield knows to mean 'all's right with the world.' The flaming torch it makes as air is blown in lights up the sky for miles around. . . . At the right and left are the stacks of the steel mill, with cooling towers, and the furnaces making pig iron. Below, at right and left, are the coal mines and the iron ore mines, both entirely underground. In the center, right and left, are the scenes 'changing the furnace' and 'making bottom,' both important parts of the needed processes." Anderson also wrote the Section office that 99% of
the people using the post office were connected with
the local steel industry and all seemed pleased with the mural.
Fort Payne: "Harvest at Fort Payne," Harwood Steiger, 1938.
Steiger, of New York, admitted he had never
been as far south as Fort Payne when he received the
invitation to produce a mural there. Steiger did make
a trip to Fort Payne within a month and found the
postmaster most helpful as he prepared his sketches.
The postmaster, in fact, told Steiger that he was
pleased to be getting a mural although he had never
heard of one before and he drove Steiger out into the
country to see waterfalls. Steiger proposed two
different sketches for the mural: one showing the
cotton industry in town and the other a landscape. He
and the Section both chose the "pretty landscape" as
more pleasing.
Guntersville: "Indians Receiving Gifts from the Spanish," Charles Russell Hardman,
1947.
A very late addition to
the program, little information about
the Guntersville mural is known. There are no files or documents in the
National Archives relating to it. Hardman was a Florida artist who had done
some earlier work for the Section, including a mural in
Miami Beach on a similar theme.
Haleyville: "Reforestation," Hollis Holbrooke, 1940.
After he made a trip to Haleyville, Holbrooke chose to paint a scene of recent
conservation work in the area of the Black Warrior
Forest. He
consulted both the postmaster, who wanted a picture of
wildlife feeding in a forest setting, and the local
forest ranger,who thought the picture should mean more
to the people of the area than simply a pretty
picture. Holbrooke seems to have agreed and chose to
document the benefits of both reforestation programs
and land terracing to combat soil erosion, which he
compared to the older, less effective methods of
erosion control. Holbrooke also wrote a lengthy
explanatory note for the local newspaper about the
mural and benefits of reforestation. The two figures
in the panel represent a C.C.C. worker and the forest
ranger, Mr. Thomas Wilson.
Hartselle: "Cotton Scene," Lee R. Warthen, 1941.
Warthen, of Washington, D.C., produced the Hartselle panel as the result of his entry into the War
Department Building Competition. Warthen did
extensive research for the panel, wrote the local
postmaster, and talked with U.S. House member John
Sparkman, who was from Hartselle, about the local
industry and activities used in the final panel.
Huntsville: "Tennessee Valley Authority," Xavier Gonzalez, 1937.
The Huntsville mural was the largest and most
expensive panel commissioned in Alabama and the only
one placed in a federal courthouse rather than a post
office. Gonzales received the invitation for
the panel based on designs he had submitted for a
competition in Jackson, Mississippi, in 1936. He
originally proposed a rather odd allegorical panel
that the Washington office criticized for both its style and its lack of meaning for the people in
Huntsville. Instead of making allegorical allusions it was
suggested that Gonzalez place emphasis on the
realities of life. Using a realistic style and basing
his new theme on the work then being done by TVA
in northern Alabama, he redesigned the
panel several times. It was ultimately put in
place in October of 1937 and described by Gonzales: "Huntsville, Alabama is situated in the lower angle of the Tennessee River and has profited immensely by the benefits derived from the Muscle Shoals Project. Before this undertaking was begun, the country, being unprotected, was at the mercy of floods and calamities. The benefits of electricity were a privilege of the few who could afford the exorbitant price, the soil of the country was being washed away by the floods, and industry and agriculture were underdeveloped due to the uncertainty of land conditions. Since the completion of this project tremendous benefits have been received . . . the control and proper use of water resources; . . . conservation and preservation of land resources; . . . [and] the disposition of surplus electric energy created as a by-product of the irrigation and flood control."
Luverne: "Cotton Field," Arthur Getz, 1942.
Getz received the commission for Luverne on the
basis of designs he had submitted for a competition
for the War Department building. As a northern artist
he was warned by the Section when he proposed the
theme of cotton: "It will be necessary for you to
acquaint yourself thoroughly with the appearance of a
cotton plant as the individuals using this post office
will be especially observant on this point." Getz
consulted southern painters as well as researching the
growing of cotton while he worked on the mural. The story of the completion of Getz's mural was all too
familiar late in the Section program. He had
received the commission for the Luverne mural in May of 1941. In February of 1942, while completing the
project, he needed a letter for his draft board from
the Section to allow him to finish the work. Getz
seems to have managed to complete the mural and send
it to Luverne for installation only a week or ten days
before he was to be inducted into military service.
Monroeville: "Harvesting," *Arthur Leroy Bairnsfather, 1939.
A.L. Bairnsfather, of Birmingham, submitted three initial sketches to the Section after
his invitation to do the Monroeville mural. The
Section chose a harvesting scene even though
Bairnsfather suggested to them that there was actually
very little grain grown in the area. The mural was
installed in January of 1939 and the postmaster and
public were so pleased that they requested another panel
for the opposite wall of the lobby.
Montevallo: "Early Settlers Weighing Cotton," William Sherrod McCall, 1939.
McCall, at the time from Jacksonville,
Florida, received the invitation to do the Montevallo
mural in 1938 on the basis of designs he had submitted
for a competition in Miami. He immediately visited Montevallo and chose the theme of cotton
and settlement of the region because,in his words, "Montevallo
was a very important little town to the cotton
industry of the State in the early days." The postmaster, in the letter written to verify the
installation of the mural, commented: "I
would like to state that the citizens find the work a
beautiful addition to our building and wish to thank
the Federal government for this contribution. The
heads of the Departments in our Alabama State College,
as well as those students who are able to comment upon
Mr. McCall's workmanship, join me in saying that it is
one of the best pieces of work seen in the State."
McCall wrote a final letter to the Section in which he
commented upon his royal treatment in Montevallo.
Oneonta: "Local AgricultureA.A.A. 1939," Aldis B. Browne, 1939.
Browne's Oneonta panel depicts a series of
local scenes, all of them suggestions from the people
of Oneonta. Also noteworthy about the
Oneonta mural was the working method used by Browne. He came to Oneonta from Connecticut and
painted the work directly on the wall to the delight
of the local citizens, who apparently came by daily to
inspect his progress. Browne reported to
the Section office that he was "nuts" about Oneonta,
and that the greatest debate going on was whether the
jug on the wall held corn whiskey, since Blount County
was dry. Included in the scheme, behind the central
figures, are the specific local scenes and buildings
requested by the postmaster and local citizens: to
the left the city of Birmingham dam, which was located seven miles
from the town, and on the right a local strip mine.
Across the top are local Oneonta buildings: the
Baptist and Methodist churches, the post office,
cotton warehouse, sawmill, courthouse and jail.
Finishing the background is a house and a covered
bridge. Browne was pleased to report to the Section
that the central section, comparing a terraced field
to one neglected and worn by erosion was already being
used by the local agricultural office to show farmers
the benefits of modern scientific methods of planting.
The letter written by the postmaster to verify the
final installation of the panel was effusive in its praise for the Section, Browne, and the mural.
Opp: "Opp," Hans Mangelsdorf, 1940.
Opp received a very nice sculptural commission by Mangelsdorf, a New
Orleans artist, who within a month of
receiving the invitation visited Opp. He
sent not only sketches to the Section office but also
his assurance that he had tried to include everything
the people of Opp suggested as important for a
representation of their town. The final piece was
described in a local newspaper after installation: "In the relief agriculture is personified by the woman holding a basket of corn in one hand and flowers in the other hand, and the church in the background indicates home, life, and education. The goldenrod, the State flower, and the Flicker, the State bird, are also shown on the relief. Industry is personified by the man holding a spool, symbolizing the main industry of the town, the cotton mills. The water tower, symbol of the industrial progress, shows in the background, and in the back of all is the long leaf pine."
Ozark: "Early Industry in Dale County," *Kelly Fitzpatrick, 1938.
The Ozark panel was the first of two murals painted by
Wetumpka artist John Kelly Fitzpatrick, with Phenix City the second. Fitzpatrick was
awarded the commission on the basis of work he had
done under TRAP, an earlier Treasury program. He
actually proposed several different themes, including
a scene from local history depicting a
famous battle between Samuel Dale and local native
Americans, a decorative and allegorical panel, and a
postal history panel. The Section however
wanted him to try a local
industry theme. They suggested as a model the easel painting of a mill that he had
previously produced under PWAP, and which was then hanging
in the White House. That sketch was ultimately
approved and used. When the mural was installed a
notice in the local paper complimented it highly.
Phenix City: "Cotton," *Kelly Fitzpatrick, 1939.
The Phenix City panel was the second of two murals by Fitzpatrick, a Wetumpka artist, with Ozark the first. Its theme is the southern cotton crop. Before it was
installed in the Phenix City post office it was
exhibited at the Montgomery Museum of Fine Arts and
described in the local newspaper: "The subject of the
mural is a cotton growth cycle showing the various
steps from the planting of the seed to weaving it into
cloth. The scene is a typical east Alabama landscape
where one gently rolling hill rises above another
and on each succeeding level a period of growth is
depicted." The Phenix City mural is still in place although the
building is now the public library.
Russellville: "Shipment of First Iron Produced in Russellville," Conrad A. Albrizzio, 1938.
The mural for Russellville turned out to be one of the
most controversial in Alabama. Albrizzio
submitted two sketches of local industry shortly after
he was invited to undertake the commission. The
Section office chose the scene of a local quarry over
that of an early iron mine. The Section apparently
made their decision in early July 1937 and by the end of the month they had received numerous telegrams in protest
from Russellville clubs and business concerns.
The local population proposed a slightly different
theme of the old Alabama Iron Works, the first iron
furnace in Alabama, built in 1817. Similar letters were
also sent from Alabama to Senator John H. Bankhead, Jr., in
Washington. One of the letters described the general
theme and the details the Russellville businessmen
wished to have included: "We know the beehive shape of all charcoal furnaces erected at the date. We know that the furnace and forge were motivated by water power through a race that still exists. We know they used a five hundred pound hammer to shape the pig--we have the hammer. We know the ore was collected by slave labor and hauled in ox carts to the furnace. We know the pig iron, much of it, was hauled by ox wagon thirty-five miles to the Tennessee River and shipped to Liverpool, England, and we have the records where it was sold at one hundred dollars a ton. The rock wall foundation of the warehouse still stands along the creek bank." After a series of letters between Albrizzio, Bankhead,
the citizens of Russellville, and the Section,
Albrizzio redesigned to the wishes of the local
population and eventually went to Russellville and
painted the mural in fresco on the walls of the post
office.
Scottsboro: "Alabama Agriculture," Constance Ortmayer, 1940.
Ortmayer was teaching at Rollins College in
Florida when she received the invitation to do a panel
in Scottsboro. She chose a theme based on Alabama
agriculture, especially cotton and corn. She described the
final images: "Three phases of cotton growing form the theme of the central panel. On the right the cultivation of the crop is symbolized by the young man working with a hoe among the new plants. Opposite a young woman is depicted picking ripened bolls, and for the background, the processing and shipping of cotton is represented by the bales and the strong figure of a second young worker standing between them. Both of the flanking panels interpret the growing of corn. The young man and woman shown on the right are examining the fruit on the ripened stalks and the couple on the left are represented as workers who have harvested the new crop." The Section office wrote about the work in these words: "In a
sculpture characterized by clean, flowing lines, Miss
Ortmayer gives an exceptionally effective
representation of the youthful strength and grace that
each new generation brings to the agriculture of the
south."
Tuscumbia: "Chief Tuscumbia Greets the Dickson Family," Jack McMillan, 1939.
McMillan, a New York artist, chose the theme of his
mural after visiting Tuscumbia shortly after receiving
the commission. The Section had proposed that he
consider using Helen Keller, but the residents of
Tuscumbia suggested the arrival of Michael Dickson and
his family. McMillan actually produced sketches using
both themes and the Section office chose the Dickson
panel as "unusually handsome in its simplicity and
plastic qualities." The mural seems to have been very
well received by the residents of Tuscumbia. A long
newspaper article appeared after the mural was
installed elucidating the story of the Dickson family
who arrived by river in Tuscumbia after fleeing the
Johnson massacre in Tennessee. Chief Tuscumbia
greeted them and sold them a large tract of land for
$5.00 and two pole axes.
Tuskegee: "The Road to Tuskegee," *Anne Goldthwaite, 1937.
In addition to depicting local scenes, Goldthwaite, a Montgomery artist, used the suggested
Section theme of postal history for her Tuskegee panel, as she did with her other mural in Atmore.