He was mainly known for his religious paintings executed in an archaic, Gothic style that reprised the 16th century models of Northern-European masters such as Hans Memling and Albrecht Dürer.

[1][7] From a young age Théophile received initial artistic training at the atelier of the brothers Paul and the Félix De Vigne, respectively a sculptor and painter who worked in the so-called 'troubadour' style.

[1] Théophile enrolled in 1862 at the Royal Academy of Fine Arts of Ghent where the studied under the Belgian history painter Théodore-Joseph Canneel.

In order to gain his livelihood, Lybaert painted trivial portraits and genre scenes for the American export market.

He created large paintings of historical subjects such as The palace of Alhambra after the execution of the Abencerrages and The adoration of the emperor Caligula, which he sent to international exhibitions.

From that time onwards Lybaert decided to focus on religious themes, which expressed his own Christian convictions and his admiration for the artists of the 16th century.

[9] The conservative, Catholic French writer Charles Buet wrote a booklet entitled Un moderne gothique about the artist lavishly singing his praises.

In his religious scenes Lybaert used an archaic, Gothic style that reprised the 16th century models of Northern-European masters such as Hans Memling and Albrecht Dürer.

Particularly in the city of Bruges a number of artists, such as Edmond Van Hove, created religious subjects in a style similar to that of Lybaert.

Lybaert was known for spending a substantial amount of research on his historic subjects in order to ensure the accuracy of his paintings.

Lybaert clearly used the detailed information provided to him by Trego in his American Revolutionary War subjects including in The smoker, the drummer of the Jersey Blues.

[12][13] In a final period starting from the 1910s he developed towards an eclectic style incorporating Symbolism into his compositions still reminiscent of the techniques of the Flemish Primitives and the earlier inspiration he had drawn from old masters such as Hans Memling and Albrecht Dürer.

In the background can be seen ravens and flames, a reference to the horrific events affecting the artist's homeland during the First World War, the period in which this composition was painted.