America’s rural scene is enlivened by the presence of bright red barns. Like architectural poppies, they dot the countryside with flashes of scarlet. In spring and summer, the bursts of red contrast vividly with green grass, leafing orchards and verdant fields. In late autumn, after the last leaf has fallen and the grass has yellowed, crimson barns lend energy to a drab and barren landscape. And how much redder could a barn be than when the surrounding land is blanketed in winter’s white?

But where, when and why did this phenomenon of barn painting begin?

Lewis Evans wrote in 1753, “It is pretty to behold our back settlements where barns are as large as palaces, while owners live in log huts, a sign of thrifty framing.” Strength and convenience were regarded as the most essential requisites in early American barns. European barns had been small, but early settlers built huge barns, symbols of expansive hopes and plans for life in the New World.

Farmhouses changed with trends in fashion from 1650 to 1850, but barns did not vary. Barn design, a standard symbol for the American farmer, remained a dignified hand-hewn structure with the same scrollwork that, in the late 1850s, decorated the farmer’s house.

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In American Barns and Covered Bridges (Dover Publications, 2003), Eric Sloane points out that weather was always an important consideration in planning a barn. The early builder mapped routes of sunshine, wind and water drainage. He paid careful attention to the health and comfort of his animals, as well as to the protection and preservation of barn timbers and stored grain.

Early 18th-century bridges and barns went unpainted. The right wood in the right place, it was discovered, needed no paint. Even houses in the earliest settlements were not painted. To paint the barn would have been viewed not only as extravagant, but vulgar and showy.