Painted amid the social conflict and economic depression of the 1920s and 1930s, Thomas Hart Benton’s landscapes present idyllic images of the relationship between man and nature. Haystack depicts three farmers building a haystack. The composition is dominated by the central haystack and framed by the ramshackle house and barbed-wire fence. Overlapping hills, clustered trees, and contrasts of light and shadow add depth and drama to the landscape. Benton’s dynamic brushstrokes animate this peaceful scene.
Here, the artist portrays man working in harmony with nature and the land as a source of bounty and nourishment. The rhythmic swirls of paint create a lyrical rhythm between the farmers and the land that provides their sustenance. The ground appears to swell around the figures as if the farmers and the land are becoming one. The lack of harsh lines or points in the composition emphasizes the organic focus of the painting, while the classic use of three figures within a framed and balanced composition stabilizes the painting. This is not an arresting image; instead, the painting projects a sense of tranquility and endurance.
A palette of rich browns, greens, and golds—the colors of the harvest—unifies the scene. The artist painted the trees and shrubs in lush greens, the hay in vibrant ochres, and the bright blue sky dotted with idyllic white clouds. Benton suggests a world of plentiful abundance, which was a harsh contrast to the barren and desolate land during the Great Depression of the 1930s. At a time when farmers suffered from the devastating effects of drought, Benton’s peaceful scenes uplifted the quiet heroism of farming life.
Born in Missouri, Benton is best known for his historical murals and realistic portrayals of country life. Haystack was painted four years after Benton moved from New York back to Missouri. Here, he had intimate contact with rural America—, his favorite subject matter. Although the specific location of this painting is not known, the scene evokes the gentle hills and valleys of North Carolina. Benton—who made frequent sketching trips to rural locations—had visited this region in 1928. He was fascinated by the local people who resisted change to maintain their traditions.
Referred to as a Regionalist, Benton believed that the subjects of American artists should come from the nation's heartland—everyday life in American towns and farms. While he was well schooled in the lessons of Modernism, Benton abandoned his formal training to look inward. By relying on his native instincts, he sought to develop "authentic American art" that would celebrate and further the American spirit, unaffected by European influence. What resulted from this inward study was a celebration of the spirit and people of America.
