A solitary figure of Christ dominates the center of the composition, his body nailed to a wooden cross and illuminated against a completely dark background. His arms stretch outward along the horizontal beam, hands pierced by nails, while his head tilts gently to his right and downward, eyes closed in death or deep suffering. A white cloth is wrapped around his waist, its folds painted with sharp, luminous highlights that contrast with the surrounding darkness and emphasize the volume of his body.

Above Christ’s head, a wooden plaque bears an inscription, painted with careful attention to the grain of the wood and the shadow it casts. The cross itself is rendered with a striking sense of solidity, its rough texture and subtle variations in color suggesting aged timber. No other figures or landscape elements appear; the entire scene is stripped of narrative detail, focusing all attention on the suffering and presence of Christ.

Light falls dramatically from the left, modeling Christ’s torso and limbs with a sculptural clarity that enhances the sense of three-dimensionality. The brushwork is smooth and controlled, with transitions between light and shadow handled delicately to create lifelike flesh and the illusion of tangible fabric. The composition is strictly vertical and symmetrical, reinforcing the solemnity and isolation of the figure. According to the Art Institute of Chicago, the painting was originally installed in a dimly lit space and viewed through a grill, heightening its illusionistic effect.

Early viewers remarked on the powerful sense of three-dimensionality, as if the figure were a sculpture rather than a painted image.