The Barbizon cow; Sauvie Island, Portland, Oregon
When I saw this “scene” it reminded me of Barbizon School paintings (not a formal institution—a group of painters and period of time, starting around 1830 in France).
Painters in the Barbizon School believed that subjects other than royalty, the rich, and battle scenes were worthy of depiction. Thus the obsession with cows. With reapers and gleaners and sowers—the poor, the haggard, the meek, the miserly, the weak, the old, the chaff. The castaways. Thus (eventually) Monet, Renoir, Pissaro ... van Gogh ... Andy Warhol ... and you and me. They broke the frame. They painted as if NOTHING were mundane. As if EVERYTHING were beautiful, worthy of consideration. Even the lowly bovine.
My favorite painter from the Barbizon School (and I think the best known) was Jean Francois Millet, whom Vincent van Gogh copied more than another other painter (by copied, I mean studied; and I mean created works whose subject matter, if not style, was defined by Millet; van Gogh’s works are far from simple reproductions; it’s as if he used Millet’s human forms as vessels for the tempests he created with ink and paint). 
Van Gogh created at least 21 copies of Millet’s works (some, such as Millet’s The Sower, van Gogh painted multiple times, sometimes wildly changing the palette and ‘background,’ but staying largely true to the form of the sower himself).
While the subject matter and tonality of my photograph might fit (if it were a painting) the Barbizon School style, the composition doesn’t; the cow is dead center (which violates the general ‘rules’ of composition for the Barbizon School, and for most compositions in photography as well).
As long as no one points this out to the cow, I can accept it.