A crowd of men in formal black coats and top hats gathers in a high-ceilinged, rose-colored room, their attention fixed on a group of large framed paintings propped against the wall. Several figures in the foreground sit at tables or lean forward, their faces intent, while others stand, gesturing or raising umbrellas and canes to signal a vote. In the left foreground, two men in white blouses write at a table, surrounded by others seated or standing, some with hats set aside on the backs of their chairs.

Sheets of paper are scattered across the red carpet, hinting at the administrative bustle of the event. A large, cream-colored canopy stretches overhead, diffusing the daylight and casting soft illumination across the space, while the far wall opens onto an airy, light-filled gallery beyond. The paintings under review, some depicting landscapes and one a nude figure, are angled for inspection, their gilt frames catching the light.

Faces are rendered with careful attention to individual features, and the artist uses smooth, precise brushwork to evoke the crisp textures of cloth, polished wood, and gilded frames. The composition leads the viewer’s gaze from the busy foreground, with its cluster of jury members and secretaries, to the quieter background where more figures converse or examine artworks in the adjoining hall. In the lower left corner, a chair with a black hat resting on its seat stands empty beside a table covered in papers and a green box.

A man in a brown coat stands with his back to the viewer near the right edge, his figure partly cut off by the frame. In the far background, arched windows and doorways let daylight stream into the adjoining gallery, where more paintings are visible on easels and walls. The rose-colored walls are interrupted by a dark green band running horizontally behind the paintings, providing a contrasting backdrop.

The floor transitions from a patterned red carpet in the foreground to a pale, bare surface toward the back, scattered with loose sheets of paper throughout. The brushwork is especially tight and smooth in the depiction of faces and hands, while broader, more fluid strokes are used for the canopy and expanses of wall.