John Clayton Adams was born in Edmonton, London on 26 January, 1840 to Charles Henry and Jane Adams. His father was a school master at Latymer's School and also an astronomy lecturer and his mother was a teacher. The family lived in Church Street, Edmonton near where the school was originally located. Adams enrolled at the Bloomsbury School to study art and was later taught by William Wilthieu Fenn. He made his debut at the Royal Academy in 1863 and was a prolific exhibitor there until 1893. He also exhibited at the Royal Society of British Artists, Royal Institute of Oil Painters, Walker Art Gallery, Arthur Tooth & Son, New Gallery, Dowdeswell Galleries, the Grosvenor Gallery and the Royal Society of Artists, Birmingham.

By the age of 21, he was earning a living as an artist, whilst continuing to live with his family in Edmonton. He became known for paintings of landscapes using rich colours and a broad technique, with a clear and undisturbed vision. Adams married Mary Frances Tupper at Christ Church in Worthing, Sussex on 30 September 1871 and by 1873 had moved to Ewhurst Hill near Cranleigh in Surrey where his two children were born. His son Harry Clayton Adams (1876-1956) also became an artist.

Adams was captivated by Surrey and painted many picturesque views of the county, however he also visited other areas such as Hampshire, North Wales and the Trent Valley. His success allowed him to build a house named Brackenhurst in Ewhurst Hill. It was located on a cornfield and was the site of a painting by George Vicat Cole. He remained at Brackenhurst until his death on 20 January, 1906.

A retrospective exhibition of his work was held at the Art Union of London at 112, The Strand on 4 June 1907. Examples of his paintings can be found in many public collections including the Beverley Art Gallery, Brighton & Hove Museum, Harris Museum, Laing Art Gallery, Museum of Croydon, Reading Museum, Royal Albert Memorial Museum & Art Gallery, Russell-Cotes Museum, Sheffield Museum, Torre Abbey Museum and the V&A.

This lovely painting of hay making is a subject he returned to many times over the years. He often included figures at work in his rural landscapes, however, this painting offers us a rare glimpse of men and women toiling together. Whilst the adults work to get the hay cut and gathered, two children play with a toy boat at the pond.