Returning to Ocean Springs after his years at the Academy, Anderson worked as a designer in the family business, Shearwater Pottery, founded by his older brother Peter. In 1928-29 he designed his earliest ceramic pieces: pelican and crab bookends, lampstands, peculiar "Resting" and "Sitting Geometric Cats," a "Horse and Rider" and innumerable plates and vases. His work as a designer and decorator at Shearwater Pottery, from 1928 until his death included incised pieces, sgraffito work, underglaze decoration, woodcarvings of saints, and designs for furniture. Among his early projects, launched with his younger brother, James, was a "Shearwater Pottery Annex" which produced inexpensive figurines, giving Anderson enough of an income to marry Agnes Grinstead in 1932, an art history graduate of Radcliffe College, who would later write a poignant memoir of their life together. During the early years, manufacturing of the figurines, which he called "widgets," prevented Anderson from painting and led to considerable tension. In 1934, commissioned by a family friend, Ellsworth Woodward, Anderson painted an ambitious mural in the auditorium of the Ocean Springs Public School as part of Public Works of Art Project. Paintings from this period include: "Indians Hunting," "Jockeys Riding Horses," four oil portraits of Sissy, 1933–37, "Black Skimmer," "Androcles and Lion," "Man on Horse," and Birth of Achilles, along with watercolors of flowers, animals, and birds; studies for a projected book on birds of the southeastern U.S.; and linoleum blockprints, including "Tourist Cards", "Alphabet," nursery rhymes, "On the River," "Valkyries," "Butterfly Book," and scenes from Shearwater Pottery. Designs for a second mural, in the Jackson, MississippiCourt House, were accepted by an illustrious committee then rejected by a Washington bureaucrat, causing Anderson considerable frustration. This disappointment, coupled with the death of his father in 1937, lingering bouts of both malaria and undulant fever, and the struggle to eke out a living with work he detested led to a mental breakdown, with psychotic episodes, in 1937.
Oldfields
In 1941, Anderson moved to Gautier, Mississippi, to live on his wife's father's estate with his family. An extraordinarily productive period followed. Freed from his work at the Pottery, he had time to draw, paint and make block prints; to illustrate some of his favorite books; to experiment with theories of dynamic symmetry and with the drawing methods of the Mexican artist and educator Adolfo Best Maugard; and to translate from Spanish part of Jose Pijoan's history of art.
The Oldfields period came to an end in 1945, when he left his family and moved back to a cottage at Shearwater. From then until his death in 1965 he lived a reclusive life, working as a decorator at the Pottery and making frequent excursions, in a rowboat sometimes rigged with a sail, from Ocean Springs to Horn Island, Mississippi where he lived in primitive conditions and portrayed the life around him - birds, sea creatures, animals, trees, landscapes - in radiant watercolors and in a series of logbooks. He also ventured abroad to Costa Rica and China, and made numerous bicycle trips, on some of which he traveled for thousands of miles. "The wheels are turning again", he once wrote. "A bicycle seems to leave no room for other evils, or goods for that matter. It is an inclusive and exclusive wheel." One of his greatest works from this period is a series of murals in the Ocean Springs Community House. Along one wall, he painted the landing in Ocean Springs of the 17th-century French explorer Pierre Le Moyne d'Iberville. Along the opposite wall he painted what he called the "Seven Climates," in the sense of "a belt of the earth's surface contained between two given parallels of latitude." The Gulf Coast—Ocean Springs in particular - is seen as a microcosm of these climates, each of which Anderson associates with a corresponding celestial body and with a season of the year: Jupiter, Saturn, Mars, the Sun, Venus, Mercury and the Moon, beginning with Mercury and ending with Uranus. Anderson must also have been aware of the doctrine that the seven planetary spheres, with their different tones, produce a celestial music. Around the same time, Anderson painted murals along the wooden walls of a padlocked room in his cottage at Shearwater. These murals, now called the Shearwater Cottage Murals, were discovered after his death and are inspired by Psalm 104. It is a radiant hymn to light and to the beauty of one day on the Coast, beginning on the east wall with sunrise and continuing around the room through noon, sunset and night. Both murals may be seen at the 'Walter Anderson Museum of Art. When the Brooklyn Museum invited him to an exhibition of his linoleum block prints in 1948, he chose instead to travel to China, where he hoped to gaze upon unknown landscapes and examine Tibetan murals
Walter Anderson as a writer
Among Anderson's most vivid writings are logbooks recording his travels by bicycle to New York City, New Orleans, Texas, China, Costa Rica and Florida ; an account of his life among the pelican colonies of North Key, in the Chandeleurs; and about 90 journals of his trips to Horn Island, off the Gulf Coast of Mississippi, in which he combines close observation of the natural world with reflection on art and nature. Another noteworthy log describes a walking tour to a colony of sand hill cranes north of Gautier, Mississippi in January 1944.
After hurricane Katrina
Anderson's work was, partially destroyed when Hurricane Katrina struck Ocean Springs in 2005, and the storm surge penetrated the small cinderblock building that had been built after Hurricane Camille to house safely those of his works owned by his family. There was extensive water damage to the watercolors, drawings, manuscripts, and other objects that were kept there, and much of this work, from the Anderson Family collection, was dried and removed to Mississippi State University. Some has been restored by conservator Margaret Moreland.
