A muscular, half-naked Christ stands bound to a column at the center of the scene, his back arched and head bowed in pain as two men whip him from either side. The figure on the left raises his arm high, gripping a long whip, his body twisting with the force of the motion, while his tunic billows around his legs. The setting is a dimly lit architectural space, with massive stone columns rising behind the figures and casting deep shadows across the scene.

Light falls dramatically from the left, illuminating Christ’s pale flesh and highlighting the vivid crimson of the wounds on his back and the white of his loincloth. The composition is tightly packed, with the figures pressed together in a swirling, almost circular arrangement that draws attention to Christ’s suffering. Brushstrokes are visible in the flesh and drapery, lending a sense of movement and urgency to the action, while the background is handled with broader, looser marks.

The palette is dominated by earthy browns, ochres, and muted greens, punctuated by the stark red of blood and the pale tones of skin. Small details, such as the ropes binding Christ’s wrists and the veins standing out on the executioners’ arms, add to the realism and intensity of the scene. The figures’ expressions range from grim determination to anguish, with Christ’s face partly hidden by his hair, emphasizing his isolation and suffering.

The sense of physical struggle is heightened by the dynamic poses, with limbs stretched, muscles tensed, and garments swirling in the confined space. Painted in 1617, The Flagellation of Christ is the work of Peter Paul Rubens. The Museum of Fine Arts Ghent lists this painting under the title Flagellation of Christ.