Painted in the open air, according to the School of Barbizon's program, Loureiro found inspiration in Corot for his representation of the hay stacks. The stacks are not dematerialised by the light, as in Monet, but treated with analytical rhythm as metric and tonal volumes. Loureiro creates the perspective of the continuation of the road that starts in the uninhabited foreground. The sky, seen between the luminous, vaguely shapeless clouds, extends itself towards the low horizon, amplifying space. At a distance, yet close to the central motif, a painter, behind an easel, paints in the open air – the meta-language of a school of painting. Loureiro not only acknowledges their values, but represents them as his own.