Technique and condition
Microscopic examination of the image reveals that Hunt laid in the areas of landscape and sky with thin washes of pale straw yellow, pale green and pale bluish grey oil paint. The blue used in the sky is cobalt. Then, taking thicker, more opaque and densely coloured mixtures and a stiff brush, he worked up the landscape area, applying his paint in thin dabs and scumbles, and scratching into the foreground greens with the end of the brush handle to indicate stubble. The sky came next and although the main pigment is still cobalt blue, this time the mixture was much brighter and warmer. In the final stages he used a finer soft brush for the strokes indicating corn, for the delineation of the stooks and for the deepening of the foreground shadows. The position of the man's back was altered at a late stage, and two of the stooks - one in front of the man, the other the largest on the left horizon - were also a late addition.
When the painting was acquired by the Tate Gallery, it had a discoloured coating of varnish, below which was a substantial layer of dirt, indicating that the varnish was almost certainly not original. The discoloured varnish and surface dirt were removed after acquisition and repairs were made to the two lower corners, which were dented and broken. A few very minor paint losses were retouched and a thin, matt varnish was applied.