A group of figures crowds the foreground, illuminated by a dramatic shaft of light that falls from the upper left, picking out flesh, drapery, and faces against a deep shadowed background. At the right, a man in a vivid red robe stands with his arm extended, his gaze fixed on the central group; his gesture and calm expression identify him as Jesus Christ. Directly opposite, a muscular, nearly nude man emerges from a white shroud, his body twisting as he is helped to rise by an older man with grey hair and beard.

A woman in a shimmering blue dress kneels at the center, her back to the viewer, her golden hair catching the light as she turns to witness the miracle. Beside her, another woman looks upward in awe, her hands clasped in front of her chest, her face bathed in the same strong light that defines the scene. Behind these principal figures, a dense cluster of onlookers presses forward, their faces animated with wonder, disbelief, and curiosity, rendered in deep shadow and earthy tones.

The composition is tightly constructed, with figures overlapping and interlocking, creating a sense of urgency and emotional intensity. Rich, fluid brushwork models the flesh and drapery, especially in the folds of the red robe and the sheen of the blue dress, while subtle highlights bring out the textures of skin and fabric. The scene takes place in a dark, indeterminate setting, with only a hint of ground at the bottom, focusing all attention on the human drama.

Every gesture and glance directs the viewer toward the central miracle: the moment Lazarus of Bethany is raised from the dead at the command of Christ. Painted in 1625, The raising of Lazarus is the work of Peter Paul Rubens. According to the museum, the work depicts Lazarus of Bethany, Jesus Christ, and the moment of Lazarus's resurrection, surrounded by witnesses.