The sculpture's location, on top of a tall plinth directly outside the Temple of Zeus would have ensured that it was seen by all Greeks who visited the sanctuary.

[4] The second century AD travel writer Pausanias mentions the work in his description of Olympia, noting that it was "by Paeonius, a native of Mende in Thrace".

The placement of this dedicatory statue at Olympia, considered Spartan ground, is most often interpreted by scholars as a deliberate and assertive act of dominance.

Nike is of the Classical period/style, which we can see through her drapery, in what is called florid style, evident in how tightly the material is folded and clinging to her body.

Her long peplos garment has had one of the pins at the shoulders come undone, letting the drapery slip revealing her left breast.

In combination with the wind blowing around her, the drapery clings to her eluding to the shape of her torso and delicate maiden body.

For this time, the amount of skin that Paeonius chose to reveal on this figure was "shockingly erotic" for the society it was created in.

The goddess is represented in descending flight, positioned upon a triangular pedestal about thirty feet high, she seems all but independent of support.

Below Nike's feet and flying to the viewer's left is an eagle, a bird closely associated with Zeus and directly referencing the god.

It inspires a sense of buoyancy, speed, and grace, shown through how the rapid flight throws back her drapery to reveal her form.

By placing a well-known, generic image of triumph upon a pillar to symbolise a specific Victory, Paeonius added to this tradition.

The painted colours of the drapery would have contrasted with her (likely unpainted) white flesh, which would have emphasised just how much of her skin was on view (i.e. her leg and her left breast).