[1] The painting is notable for its use of caricature to provide grotesque-looking faces surrounding Jesus[2] and is an expression of Bosch's pessimistic views.
According to one of the authors, Bernard Vermet, that it is not a typical work of Bosch it is generally accepted and he finds it hard to believe that it was painted by the same painter as the Christ Crowned with Thorns in the National Gallery in London.
[10] In his own study of this painting through infrared reflectograms, he compared the underdrawings of Christ Carrying the Cross to other pieces attributed to Hieronymous Bosch, Saint Jerome and Death and the Miser.
[10] Yet another art historian Paul van de Broeck insists that this change in style is attributed to the artistic process of Bosch.
[10] Van de Broeck states that Bosch's purposefully contrasts his under drawing with his final product, often exhibiting exempla contraria.
[10] Many art historians believe that the distortion and anguish in Bosch's pieces are inspired by Leonardo da Vinci's sketches, among them being Kurt Falk.
[12] Christ Carrying the Cross is the conclusion of a series by Bosch where he developed his half-figure Passion scenes.
The work depicts Jesus carrying the cross above a dark background, primarily with black and red tones,[13] surrounded by numerous heads.
This painting focuses solely on the face and hands as a source of emotional expression, bodies being faded into the dark background.
Finally, at the top left is Simon of Cyrene, his face upturned .On the veil of Saint Veronica, there is an image of Christ as well.
[17]The first diagonal shows the expression and position of the penitent thief as overwhelming decision to turn to the Lord.
[18] Saint Veronica’s melancholy facial expression shows a contrast as well, however, this is in reverence to Christ's actions.
[18] There are two further versions of the subject by Bosch: a previous one from around 1498, now at the Royal Palace of Madrid, and another in the Kunsthistorisches Museum of Vienna from around 1500.