A group of nude women gather in the foreground beside a large overturned jar spilling water into a stream, their bodies arranged in a lively semicircle. One nymph sits on the ground with her knees drawn up, turning her head to meet the viewer's gaze, while another leans her head on her hand in a gesture of languid contemplation. To their right, two women reach upward, one gesturing with her arm extended as if calling out to the figures above, while another holds a blue drapery across her lap.

Behind this group, a satyr approaches from the left, his hairy body and pointed ears distinguishing him from the nymphs, and he carries a large vessel on his shoulder. A robust satyr stands at the right edge, his torso bare, holding a cornucopia overflowing with fruit and flowers, while a childlike figure at his feet tugs at a lion skin and clutches grapes. The upper half of the composition is crowded with satyrs and putti climbing among the dense foliage of trees, some plucking fruit and others peering down at the scene below.

A rocky outcrop rises behind the figures on the right, where two satyrs scramble upward, their muscular forms echoing the twisting branches above. Sunlight filters through the leaves, illuminating the pale skin of the nymphs and catching the gold in their hair, while the background landscape recedes into a blue sky streaked with clouds. The palette is rich and warm, with glowing flesh tones, deep greens and browns in the trees and earth, and flashes of red and blue in drapery and fruit.

Rubens uses energetic, visible brushstrokes to model flesh and foliage, giving the scene a sense of movement and sensuality. The composition is animated by diagonals, with the gestures of the nymphs and satyrs leading the eye upward and across the painting, while the curving forms of bodies and trees create a rhythmic unity. Small details, such as the water pouring from the jar, the lion skin on the ground, and the playful putti, enrich the mythological setting. Nymphs and Satyrs is painted by Peter Paul Rubens around 1635.