The painting depicts the capture of Prince Diponegoro, a Javanese noble and major leader in the Java War, by Lieutenant General Hendrik Merkus de Kock on 28 March 1830.

[4] All appear submissive to the Dutch power, in what the art historian Werner Krauss describes as recognition that "de Kock's stern action is for the best of the Javanese, and that poor General de Kock had no choice but to send Pangeran Diponegoro away, just like a loving father has to send a misguided son away in order to teach him a valuable lesson".

[5] In 1825, after declaring himself Ratu Adil and his enemies infidels for their lax practice of Islam, he began a war against the reigning sultan and the Dutch colonial government.

[6] On 28 March 1830, with most other guerrilla leaders captured, Diponegoro was invited to come to Lieutenant General De Kock's home in Magelang to negotiate an end of hostilities and guaranteed safety of passage.

[6] Opposed to the submissive and beaten Diponegoro of Pieneman's painting, Saleh depicts him as an angry and defiant man who is struggling to control his emotions, on par with or even having more power than De Kock, who is positioned on the left or "female" side.