It also depicts a gender perspective of Brazilian independence, insofar as it highlights the participation of the then princess Maria Leopoldina in the political process of colonial rupture in 1822.

[6] The focal point of the painting is Maria Leopoldina,[7] in a meeting with the Council of the Attorneys-general of the Provinces of Brazil, in the Paço Imperial, in the city of Rio de Janeiro.

[10] Albuquerque's intention was to portray the moment when the princess, under the advice of José Bonifácio, prepares a letter to Dom Pedro, encouraging him to end Brasil's colonial status.

[10] The painting has the following caption, in direct reference to Rocha Pombo's analysis of independence: The State council was called for a meeting on September 1 (or 2), at 10 a.m.. All the ministers were already present on the Paço.

[14] On the other hand, academicist circles and the historical painting market were almost exclusive to male artists, and in those circumstances, Albuquerque's trajectory is marked by "perseverance" and a rupture with the prevailing belief that "submission and reservation" were the main characteristics of women.

[15] Therefore, in 1921, when she began production of Sessão do Conselho de Estado, the painter already had a stable professional situation and had achieved commercial success.

[15] Academicist characteristics of Sessão do Conselho de Estado are: historical theme, the type of classical framing of the characters in the scene, the size of the artwork, and a certain quest for faithfulness in the forms of the portrayed personalities.

[2] The encounter of influences from distinct artistic movements within the work caused it to be defined as "a compromise solution between academicist theme and impressionist style, characterizing the 'discreet audacity' [...] of its author - conservative in her language, audacious in her social subversion and genre aesthetics.

[20] Regarding Albuquerque's stylistic choice, the sociologist Ana Paula Cavalcanti Simioni wrote: From a formal point of view, the least that can be said that Georgina was timid, as she searched for this compromise solution already repeatedly used by French artists she knew, as a student or as an spectator, from her formation period in France.

Those formulas, still present in the 1980s in artists called juste milieu were absorbed by various other Brazilian artists such as Visconti, Calixto, Amoedo, Décio Villares, Manoel Lopes Rodrigues, Firmino Monteiro, among others, constituting a safe artistic work environment, with a relatively stable public, or in other words it demonstrated a desire for keeping up to date, a taste for the modern, but without great anxiety for rupture with the academic system.Sessão do Conselho de Estado is a counterpoint to the academicist artwork Independence or Death (Independência ou Morte), by Pedro Américo, the most well-known pictorial depiction of the end of Brazil's colonial status.

[22][23] The sociologist Ana Paula Simioni analysed that: Leopoldina is portrayed as the antipode of her husband: elegant, serene, com a noble tranquillity, her strength doesn't come from tangible physical characteristics, but from an intellectual supremacy, corroborated in the rigid posture of a statesman.

It can be imagined that the artist wanted to introduce the idea that the princess didn't "give the Cry", but engendered it, leaving to her husband to take care of the simple execution of the action.The depiction of Independence in Albuquerque's work doesn't take on a warlike character, "a decision provoked by the impetus of indignation",[25] but as a "result of a serene planning, from a political negotiation done by diplomats whose strength came from a strategizing intellect, and not from warrior physical strength".

[26][19] That contributes to a historiographic current[27] that doesn't presents the end of colonial status as a rupture, but as a gradual national process, during which the State Council guaranteed cohesion and stability.

[32] In this comparison, Sessão do Conselho de Estado defines a "new woman", contributing to modifying conventional views of genre relations.

[16] The selection was made by Flexa Ribeiro, Archimedes Memória and Rodolfo Chambelland, with their task being searching for new iconographic portrayals of historical interpretations of independence.

[36] In the magazine Ilustração Brasileira (Brazilian Illustration), the art critic Ercole Cremona celebrated Albuquerque's painting as a "beautiful artwork inspired by the concepts of Rocha Pombo",[37] in which the painter "lent all of her great soul, all of her feeling and her marvellous technique to the painting, where there's moved and well drawn figures, resolved attitudes and palette resolved with great wisdom".

[40] In contrast, José Bonifácio, standing up, apparently exposing the crisis between the Portuguese Crown and the colony to Maria Leopoldina, lacks prominence.