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The number following the place-name is the total number of hay images for that place in the database. Click on that number to see all the images.
A train of camels carries hay past a refugee camp at Khwaja Bahwudin, Takhar Province, Afghanistan. The mode of transport is ancient; the wartime displacement of a long-suffering people is all too current.
The valley, like many east of the Adriatic, is treeless. The staked haystacks are not unique to Albania; they can still be found throughout the poorer Balkans and much of eastern Europe.
Camels carry hay in a nomad caravan near the Taout Oasis, Algeria. The material may be for fuel, or protective wrapping for something more costly, or vital fodder for the beast that carries it.
Considering the importance of cattle in the Argentine economy, the dominance (80%) of hay as a forage crop, and the use of about 6 million hectares to produce alfalfa (1999), the virtual absence of illustrations is surprising. Part of the difficulty stems from the keyword search for “hay” in Spanish speaking countries (hay problemas!). But the University of California collection of stereographs does include this single (double!) image which shows a bundle of hay being unloaded at the great port of Buenos Aires. The other possibility, from the fine Welsh website, depicts migrants from Wales to Patagonia but shows hay with no discernible landscape background.
This horse loaded with rider and hay, snapped by a passing tourist, is the only one found for Armenia (and therefore has to be the best).
Many of the rural scenes of southern Australia echoed those of the British motherland, but rather than show one of several photographs which reflect this affinity (e.g., http://www.hayinart.org/images/2945.jpg), I’ve chosen one that shows the landscape filtered through the lens of impressionism. The artist, Charles Conder was born in England, emigrated to Australia as an adolescent and became a founding member of the Heidelberg (Victoria) Impressionists. This delicate work has a Japanese quality to it: calligraphic flowering trees frame a pond with geese, other farm fowl and pigs. Beyond, in a corral is a neat haystack, brightly lit from above.
The best book devoted both to hay in art and hay as art is by the Austrian art historian Kristin Sotriffer. So there is a wealth of choices to represent the magnificent hayscapes of his homeland. Exactly halfway through Sotriffer's work is a centerfold so striking that both sides of it were included in the database (ID 1767 -1768). The Heumannchen (little hay men) seem to be parading across the rolling fields like figures from a Han Dynasty tomb. This army of hay soldiers was captured in 1989 in the area of Annaberg in Niederosterreich. One can only hope that they continue to be created every summer.
Although there is only one image for this place, it is a fine one, a well-composed linocut by the Azerbaijani artist Alakbar Rezaguliyev, depicting several heavily loaded ox-carts winding down and around a steep hill.
The Corbis caption calls it straw, but the cargo in this striking 1996 photograph by Tiziana Baldizzone of a boat on the Meghna River appears to be hay. In any case the scene depicts well a landscape all too often literally dominated by water.
In a scene which typifies the time-warp which enthralls post-Soviet Belarus, an elderly woman, watched by a cat, dries hay on a paved road near Smilovichi. Presumably, the car in the background belongs to the unknown tourist photographer, door left open to allow a hasty move to the next picturesque opportunity.
Discovered too late to be included in our Hay on water essay, this early nineteenth century view of Ghent by Pierre Francois de Noter, in a style as old as the northern Renaissance, nicely represents the importance of canals and hay in the economy of the Low Countries.
The only relevant image we could find of this Himalayan kingdom has, alas, none of its characteristically grand mountain scenery. But the stack on which the children are sitting and the soft-focus strands hanging from the background trees at least seem to be hay.
This doubly dubious entry is questionable both for its geography (should Bohemia be considered separately from twentieth century Czechoslovakia or indeed the twenty-first century Czech Republic?) and its fanciful landscape (painted on the wall of a northern Italian castle). However, according to Enzo Carli, it was done by a 15th century Bohemian master named Wenceslaus).
The photographer Eileen Kleinman gives this remarkably cheerful portrait the implicitly less optimistic caption “Life for the refugees in Bosnia-Herzegovina.” We must look beyond these smiling spinners to the haystacks in the field behind them, enduring elements in the tragically unstable environment of the Balkans.
Peter Johnson’s undated photograph shows !Kung women and girls carrying hay-bundles along a Kalahari trail. The Corbis notes indicate that the material will be used as roof thatch not fodder, in a region better known for hunting and gathering than for herding.
Donkeys pull carts full of bales of hay down to the riverbank, where they are loaded onto cargo boats and taken up and down the Sao Francisco River through the seasonally arid region of Pernambuco. The scene, taken by Genevieve Naylor in the 1940s, is unlikely to have changed much in the past 60 years.
A woman carries a large bundle of hay near Karlanova, Bulgaria. The Balkan Mountains of northern Bulgaria are dramatic, and the prevailing mode of transportation is arduously primitive.
The ultimate hybrid of the art of straw and hay may be this Burmese straw collage which depicts a cart of hay (or is it straw?). Another image of this country is found below using its contemporary name under the letter M.
While the material in the small ox-cart looks like hay, the field through which it is being pulled is obviously a rice paddy, and so the load is almost certainly the straw of unthreshed rice. The other candidate Cambodian image, captioned "Haystack" suffers from the same misconception.
Most of the 88 Canadian hay images are listed by their province. Among the eleven lacking a known province is this evocative painting by Clarence Gagnon from the early thirties. The dense woodland, edged by birch trees around the hay meadow, and the threatening clouds all have a raw frontier feel to them, but the style of haymaking could be almost anywhere in western Europe or North America before the middle of the twentieth century.
Former Chilean ranches, like their counterparts in northern and central California, are being rapidly converted into vineyards. Herding tourists instead of cattle requires bales of hay only for them to sit on, while they tour the wine country.
Many of the twenty-five Chinese images discovered under the label “hay” are understandably deceptive, since the gathering, carting and stacking of rice creates similar landscape forms. This unusual image conceals the identity of the material more flamboyantly. The load of plant material wrapped in fabric resembles a sofa on wheels. The tractor and truck and utility wires all reflect rapid recent modernization.
Two women rake, two lift tendrils by hand, and a fifth stands on top of a load of stylized hay laced with wildflowers the color of the background sky. The women with rakes are as graceful as those of George Stubbs; but the style of the Croatian-Canadian artist Rajka Kupesic is Balkan naive.
Cuba . (2)
The image of Cuban hay by the Dutch photographer Hans Rossel shows plenty of hay but little of landscape. But beyond the casually waved hat of the hay-rider looms a pylon of modern power. For a historical view, see the engraving of the Havana haymarket from 1853.
There are several reasons not to include this strange image. Czechoslovakia, like its predecessor Bohemia no longer exists as a nation name. We’ve already used a Bohemian hay scene. The color and style of harvesting suggest cereal rather than hay as the crop. A kinky couple cavorts incongruously in the foreground. The whole confection was created with “computer airbrush on synthetic canvas.” Yet somehow all this mischievous artificiality has a place, and deserves a place in our hay gazetteer.
Between farm buildings in the low-walled, large-roofed style of northern Europe, stands a conical haystack, glowing in the sun of a long summer day. The other Danish hay picture is a misty Faeroe Island scene.