The concept of work dates back to Podkowiński's stay in Paris in 1889, but the emergence of successive oil sketches and charcoal studies in the second half of 1893 was the consequence of the growing drama of unrequited love in the artist's life.

In his vision, Podkowiński elevates erotic ecstasy to an absolute value, regarding it, in accordance with the psychologism of that time, as the cosmic power and determinant of the human condition.

[2] Setting about the execution of the huge painting, he employed the academic method of preparatory sketches corresponding to the final version, while differing slightly in size and colour.

Reduced in colour scheme, they range from the ultramarine version (lost), through work enlivened with green, to subsequent ones in which intense orange predominates.

In comparison with the sketches, the final, monumental composition gained in dynamism over the earlier weak contrast of colour, intensifying to between golden and black, and the tension between light and shadow became more polarised.

The creation process lasted at least three months, and according to a friend, the terminally ill Podkowiński "was painting from his bed" as he finished the work.