During the late Medieval and Renaissance periods, the Three Kings—Gaspar, Melchior, and Balthasar—were often dressed in this manner, which later became an identifying symbol of French revolutionaries. The figure’s hair is in the style of Coiffure à la Titus. Most famously worn by Napoleon Bonaparte, the short, wispy, windswept hairstyle was inspired by the great Emperor Titus, conqueror of Jerusalem and patron of the Colosseum. Redon’s halo-encircled wings identify the figure as divine in nature. At his feet, a small oak sapling grows. The French academic practice of rendering trees with multiple trunks came from observing the old-growth oak trees of Fontainebleau. The 19th-century landscape artists of the Barbizon School and Impressionists frequently made sketching trips to Fontainebleau, creating the world’s first nature reserves. Redon’s clearing is populated with a rock covered in grass and foliage. A lavender weeping willow with green leaves evokes the French lakeside. A multicolor heavily impastoed background creates a dream-like atmosphere to the painting.

The woman's skin is velvety while the blood feels slightly rough. The varying intensities of the warm brown tones and the sumptuous flow of oxblood red accentuate the magnificent relief created by the tussle between the nymph and the uterus. The resulting play of light bathes the scene in a twilit mood. Carabin’s esoteric work contributes to the elaboration of a narrative around the feminine body, always at the threshold between gentle eroticism and crude pornography.