Paper

Student Artwork Guide

Haymaking

Name Class Date

George Stubbs, Haymaking (1785), Tate Gallery. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
George Stubbs wahooart.com/en/artists/george-stubbs/
Artist’s dates
1724 – 1806
Painted
1785
Medium
Oil On Canvas
Original size
89 x 132 cm
Movement
Neoclassical/Romantic A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art.
Held at
Tate Gallery wahooart.com/en/museums/tate-gallery-london/
Artistic style
British Landscape Art
Influences
Stubbs's anatomy
Notable elements
Animal & landscape
Subject or theme
Rural labor scene

In context

Haymaking — George Stubbs

How big is it?

The original measures 89 × 132 cm (height × width), drawn here beside an adult of average height.

When was this painted?

  1. 1720
  2. 1730
  3. 1740
  4. 1750
  5. 1760
  6. 1770
  7. 1780
  8. 1790
  9. 1800

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 82 at death.

Painted when the artist was 61. The artist lived to 82. 99 of the 136 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of George Stubbs (1724–1806) ▲ this work, 1785 every dated painting, decade by decade

First works: up to 1765 Main working years: 1765–1785 Late works: from 1785

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: wahooart.com/en/art/similar/george-stubbs-haymaking-8Y3JCK-en/

Colours

Measured from the image

    Main colour

    Gray #93958e

    Catalogued palette

    • #93958E
    • #32241E
    • #634534
    • #BDB5AB

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Gray
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Balanced How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by George Stubbs over the last twelve months — 12 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 66.7%
    2. 2 United States of America 15.4%
    3. 3 Singapore 5.7%
    4. 4 Hong Kong 4.1%
    5. 5 Canada 1.6%
    6. 6 Guatemala 1.6%
    7. 7 Australia 0.8%
    8. 8 Brazil 0.8%
    9. 9 Colombia 0.8%
    10. 10 Italy 0.8%
    11. · 2 other countries 1.7%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by George Stubbs

    1. 1 A Bay Hunter With Two Spaniels, 1777 20.0%
    2. 2 The Grosvenor Hunt, 1762 3.1%
    3. 3 Lion Attacking a Horse, 1765 2.5%
    4. 4 Horse Frightened by a Lion, 1770 2.5%
    5. 5 Tiger, 1771 2.5%
    6. 6 Finished study for, 1758 2.5%
    7. 7 Molly Long-legs with her Jockey, 1762 1.9%
    8. 8 Firetail with his Trainer by the Rubbing-Down House on Newmarket Heath, 1773 1.9%
    9. 9 Lord Grosvenor, 1765 1.9%
    10. 10 Rhinoceros, 1792 1.9%
    11. 11 The Prince of Wales, 1793 1.9%
    12. 12 Joseph Smyth Esquire, Lieutenant of Whittlebury Forest, Northamptonshire, on a Dapple Grey Horse, 1764 1.9%
    13. 13 Fino and Tiny, 1791 1.9%
    14. 14 Prince of Wales Phaeton, 1793 1.9%
    15. 15 The Lincolnshire Ox, 1790 1.2%
    16. 16 A Lion Attacking a Stag, 1766 1.2%
    17. 17 James Stanley, 1755 1.2%
    18. 18 Harvest, 1785 1.2%
    19. 19 Freeman, The Earl of Clarendon's Gamekeeper, with a Dying Doe and Hound, 1800 1.2%
    20. 52 Haymaking, 1785 this painting 0.6%

    Together these works take 54.9% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 194 works by this artist, of which 74 were looked at at least once. This painting ranks 52 of them, with 0.6% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Haymaking — George Stubbs

    George Stubbs’ “Haymaking”: A Symphony of Rural Life and Anatomical Precision

    George Stubbs' "Haymaking," painted in 1785, isn’t merely a landscape; it’s a meticulously crafted tableau vivant—a snapshot of communal labor rendered with an almost unsettling level of detail and imbued with a quiet, profound beauty. Housed within the Tate Gallery in London, this oil on canvas offers a rare glimpse into the rhythms of 18th-century rural England, capturing not just the physical act of haymaking but also the social dynamics and inherent dignity of those involved.

    The scene unfolds with remarkable clarity. A group of figures – men and women alike – are engaged in the arduous task of gathering hay beneath a vast, open sky. Stubbs’s genius lies not just in his ability to depict the physical exertion of the work—the straining muscles, the rhythmic movements—but also in his masterful understanding of human anatomy. Each individual is rendered with an almost scientific precision, reflecting Stubbs' lifelong fascination with animal and human form. The figures are not idealized; they possess a palpable physicality, their bodies conveying both strength and fatigue. This anatomical rigor elevates the painting beyond a simple depiction of rural life, transforming it into a study of the human condition.

    Composition and Technique: A Dialogue Between Nature and Art

    Stubbs’s composition is carefully balanced, drawing the eye towards the central group while simultaneously establishing a sense of depth through the use of atmospheric perspective. The vast expanse of the field stretches out behind the workers, receding into a hazy distance punctuated by a solitary tree – a detail that subtly anchors the scene within its natural context. The artist’s brushwork is remarkably controlled, creating a smooth, almost polished surface that contrasts with the rough texture of the haystacks and the weathered clothing of the laborers. The use of light and shadow is particularly noteworthy, casting dramatic highlights on the figures and enhancing the sense of three-dimensionality.

    The painting’s palette is dominated by earthy tones—ochres, browns, and greens—reflecting the colors of the field and the hay itself. However, Stubbs introduces subtle splashes of color through the clothing worn by the workers, adding visual interest and highlighting their individuality. The overall effect is one of understated elegance and quiet observation.

    Symbolism and Social Commentary

    “Haymaking” transcends a simple depiction of agricultural labor; it carries layers of symbolic meaning. The communal nature of the work suggests a strong sense of community and shared purpose. The inclusion of both men and women working together underscores the importance of gender equality in rural society, a relatively rare subject for artists of the time. Furthermore, the figures’ direct gaze towards the viewer creates a powerful connection, inviting us to contemplate our own relationship with nature and labor.

    Interestingly, Stubbs's choice to depict these laborers with such dignity—their bodies presented with anatomical accuracy and a sense of quiet strength—can be interpreted as a subtle critique of social hierarchies. By elevating the status of the working class, he challenges the prevailing attitudes of his time, suggesting that all individuals deserve respect and recognition.

    A Legacy of Anatomical Mastery and Romantic Vision

    “Haymaking” stands as a testament to George Stubbs’s extraordinary artistic talent and his unique approach to depicting both animals and humans. It is a painting that rewards careful observation, inviting viewers to delve into its layers of meaning and appreciate the artist's meticulous attention to detail. Reproductions of this iconic work capture the essence of Stubbs’s vision, allowing art lovers to experience the beauty and power of this remarkable masterpiece in their own homes. The painting exemplifies a pivotal moment in British art—a synthesis of scientific observation, anatomical precision, and Romantic sensibility that continues to resonate with audiences today.

    Artist and museum

    Artist

    George Stubbs

    Born in Liverpool, United Kingdom

    early life and training

    george stubbs, a renowned english painter, was born on august 25, 1724, in liverpool, united kingdom. his early life was marked by a sparse record of his activities until the age of 35, with most information sourced from ozias humphry's memoirs, based on conversations with stubbs in 1794. stubbs began his artistic journey at the age of 15, initially working under his father, a currier or leather-dresser. he later approached hamlet winstanley, a lancashire painter and engraver, for a brief apprenticeship. this short stint allowed him to study the collection at knowsley hall.

    artistic development and notable works

    stubbs's passion for anatomy led him to move to york in 1744, where he studied under surgeon charles atkinson at york county hospital. one of his earliest surviving works is a set of illustrations for john burton's textbook on midwifery, published in 1751. in 1756, stubbs rented a farmhouse in lincolnshire and spent 18 months dissecting horses, assisted by his common-law wife, mary spencer. this led to the publication of the anatomy of the horse in 1766, with original drawings now housed at the royal academy. stubbs's work was soon recognized by leading aristocratic patrons, including the 3rd duke of richmond, who commissioned three large pictures in 1759. this marked the beginning of his successful career, with works produced for several dukes and lords, culminating in the purchase of a house in marylebone, london.

    legacy and notable paintings

    stubbs's most famous work, whistlejacket, a painting of a prancing horse commissioned by the 2nd marquess of rockingham, is now housed at the national gallery in london. this and two other paintings for rockingham break with convention, featuring plain backgrounds.

    whistlejacket, a thoroughbred race horse rising on his hind legs, showcases stubbs's unparalleled skill in capturing the essence of horses.

    stubbs's series of paintings on a lion attacking a horse are early examples of the romantic movement, demonstrating his influence on 18th-century art.

    stubbs's legacy as an equine artist remains unmatched, with his works continuing to inspire and awe art enthusiasts worldwide.

    view stubbs's artwork at https://AllPaintingsStore.com/@/george_stubbs

    explore the national gallery in london's collection, featuring stubbs's notable works, at /en/art/show/art-8xyffg-en/

    learn more about stubbs's life and work on wikipedia at https://en.wikipedia.org/wiki/george_stubbs

    Museum

    Tate Gallery

    On show in London, United Kingdom

    A Presence Along the Thames

    The Tate Gallery sits along the gentle curve of the Thames in Millbank, London. The architecture presents a layered narrative where neoclassical grandeur meets postmodern experimentation. Sidney R. J. Smith’s original design features imposing columns and expansive porticos that suggest an air of imperial ambition. This classical facade finds a sharp contrast in James Stirling’s Clore Gallery, which introduces unconventional materials and spatial arrangements into the landscape. The building itself reflects a tension between honoring tradition and embracing new intellectual curiosities.

    Walking through these halls, one moves from the heavy, historical weight of the original structures toward the daring interventions of later decades. The light shifts as you transition between the soaring ceilings of the older wings and the more experimental spaces. It is a place where the physical environment mirrors the evolution of the art it holds.

    The British Collection

    The collection spans over six centuries of British expression, moving from the meticulous panel paintings of the Tudor period to the emotionally charged portraits of the twentieth century. The museum holds significant works by J.M.W. Turner, including

    Snow Storm – Steamers on Red Wharf

    , which demonstrates a revolutionary approach to light and color. These landscapes capture a sense of movement and drama through precise brushwork.

    Other notable pieces within the galleries include:

    The evocative Pre-Raphaelite paintings that focus on mythology and romanticism.

    David Hockney's works reflecting the dynamism of post-war Britain.

    Salvador Dalí’s

    Cannibalism in Autumn

    , a work born from the anxieties of the Spanish Civil War.

    Georges Braque’s

    Mandola

    , a 1910 piece that utilizes fractured planes and muted ochre tones to deconstruct form.

    Camille Pissarro’s

    The Pork Butcher

    , an Impressionist depiction of a Parisian market stall from 1883.

    The museum also houses the works of Francis Bacon and various sculptures, prints, and decorative arts. The presence of the Turner Prize exhibitions brings a focus on contemporary British achievement to the halls, connecting the historical holdings with the current artistic dialogue.

    Where to read more

    Find this online

    QR code linking to the download page for Haymaking

    wahooart.com/en/art/download/george-stubbs-haymaking-8Y3JCK-en/

    Cite this artwork

    MLA
    Stubbs, George. Haymaking. 1785, Tate Gallery. https://wahooart.com/en/art/george-stubbs-haymaking-8Y3JCK-en/
    APA
    Stubbs, George (1785). Haymaking [Painting]. Tate Gallery. https://wahooart.com/en/art/george-stubbs-haymaking-8Y3JCK-en/
    Chicago
    George Stubbs. Haymaking. 1785. Tate Gallery. https://wahooart.com/en/art/george-stubbs-haymaking-8Y3JCK-en/
    Harvard
    Stubbs, George (1785) Haymaking. Tate Gallery. Available at: https://wahooart.com/en/art/george-stubbs-haymaking-8Y3JCK-en/

    Look closely

    Haymaking — George Stubbs

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: haymaking, british landscape, 18th century. Do you agree? What would you add, or take away?
    4. Look back at Lion Attacking a Horse (1765), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Neoclassical/Romantic: A deliberate return to the calm balance and clear outlines of ancient Greek and Roman art. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Haymaking — George Stubbs

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary subject depicted in George Stubbs’ ‘Haymaking’?

      • A A detailed portrait of a wealthy landowner.
      • B A scene of rural laborers harvesting hay.
      • C An elaborate depiction of a royal hunting party.
    2. 2. In which century was George Stubbs’ ‘Haymaking’ painted?

      • A 16th Century
      • B 18th Century
      • C 20th Century
    3. 3. What artistic technique is prominently used by Stubbs in ‘Haymaking’ to create a sense of depth and realism?

      • A Pointillism
      • B Chiaroscuro (use of light and shadow)
      • C Fauvism
    4. 4. Where is George Stubbs’ ‘Haymaking’ currently housed?

      • A The Louvre Museum, Paris
      • B The Tate Gallery in London
      • C The Metropolitan Museum of Art, New York
    5. 5. What does the presence of the woman with her hand on her hip suggest about the painting’s interpretation?

      • A She is a passive observer of the work.
      • B She challenges the viewer to consider social inequalities.
      • C She represents the ideal of rural beauty.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    Is "Haymaking" by George Stubbs kept in the artist's home country?

    Yes - the artwork is kept in the artist's home country. "Haymaking" is held in United Kingdom, while George Stubbs was born in United Kingdom.

    In which year and which movement was "Haymaking" made?

    "Haymaking" was created in 1785 as a work of the Neoclassical/Romantic movement. Date and movement anchor the artwork in art history.

    How does "Haymaking" by George Stubbs connect Neoclassical/Romantic to the artist's home country?

    The Neoclassical/Romantic work "Haymaking" was made by an artist born in United Kingdom.