The Sejm was heavily influenced by foreign powers, with delegates being bribed or threatened, while Russia, Prussia, and Austria justified their annexation of Polish territory as a response to the internal conflicts of the Bar Confederation.

Jan Matejko's composition depicts the scene in the manner of academic history painting, placing Rejtan in a central position with a dramatic gesture, surrounded by figures who appear complicit with the foreign demands, including members of the future Targowica Confederation and Russian ambassador Nicholas Repnin.

Despite causing controversy and receiving mixed reviews at the time of its initial display to the public in 1866, Matejko's work was later recognized for its cultural significance in Poland, depicting themes of political resistance and critique.

The Polish government bought the work in 1920, and since 1931, except for a brief period during World War II when it was looted by the Germans, it has been on public display at the Royal Castle in Warsaw.

Both a depiction of a historical moment, and an allegory for the surrounding period of Polish history, the painting is one of Matejko's most famous works, and an iconic representation of an emotional protest.

[10] Between the two Potockis Jacek Małachowski is engaged in discussion with Samuel Korsak,[11] while Karol Radziwiłł simply observes the situation, amused.

[10] Behind them in the blue waistcoat, King Stanisław August Poniatowski, annoyed, stands up from the throne, wanting to leave, and looking at his pocket watch.

[10] The only person clearly sympathetic to Rejtan is a young man in the middle of the room, holding in his hands a saber and a rogatywka, symbolizing the supporters of the anti-Russian Bar Confederation, and future insurgents from the Polish Uprisings in the Russian partition.

[10] It offended a number of society figures, many tracing direct lineage to the major magnate families whose members are portrayed in the painting as traitors to the Polish cause.

[10] There were a number of critical reviews of the work in the contemporary press, Matejko received anonymous threats, and some aristocrats are said to have considered buying the painting only to destroy it.

[10] The painting, however, quickly garnered supporters, who in turn reproduced modified copies of it, replacing historical figures with major contemporary critics.

[16] The painting was positively interpreted in communist Poland as a symbol of critique of the Polish nobility, blamed for their selfishness leading to the partitions.