The composition depicts a hunting procession moving from the left to the right of the picture, against a backdrop of a dark wall of tall trees. The lower part of the composition is occupied by a strip of earth and grass, along which hounds are running and horses with riders are moving. In the centre, a group of horsemen in red hunting jackets is visible. On the left-hand side, in front of the riders, a pack of hounds is running. Their elongated, light-coloured silhouettes create a dynamic horizontal rhythm. Behind the dogs, haystacks are visible. In the central section, amongst the trees, stands a wooden wayside cross. On the right-hand side of the composition is a haystack.

The background is formed by dark masses of trees, through which the bright sky and a strip of the distant landscape shine through. The colour scheme is based on the contrast between the dark greens, navy blues and blacks of the trees and the red of the hunters’ clothing, the light patches of the horses and dogs, and the cool tones of the sky. The painting is constructed using broad, decorative patches of colour. Particularly striking is the rhythm of the vertical lines of the trees and the horizontal arrangement of the horsemen and dogs.

The painting alludes to the tradition of St Hubert’s Day, the patron saint of hunters, horsemen and foresters. The most important motif is the movement of the procession. The red hunting attire serves as both a ceremonial and compositional element. The pack of dogs in the foreground reinforces the hunting character of the scene. The landscape is one of the fundamental vehicles of meaning. The tall trees form a kind of natural colonnade through which the procession passes. Nature is not a neutral backdrop, but a space for ritual. This lends the scene a ceremonial dimension, rather than merely a genre one.

The composition is based on a strong horizontal rhythm, defined by the movement of the dogs, horses and riders. This is balanced by the vertical lines of the trees and the large, static form on the right-hand side. The painter does not aim for a detailed documentation of the scene. The figures, horses and dogs are stylised, subordinated to the arrangement of patches of colour. What matters most is the relationship between the dark mass of trees, the red accents of the costumes and the light patches of the animals. The landscape is treated decoratively, yet retains a sense of weight and atmosphere.

Tchaikovsky employs broad, at times almost flat, patches of colour. The dark green of the tree crowns forms a compact structure that dominates the scene. Colour does not serve a purely descriptive function, but rather organises the rhythm of the painting. The red of the hunting attire acts as a series of accents guiding the eye through the composition. Formally, the painting can be associated with moderate realism and a decoratively treated landscape, without strictly placing it within a single stylistic category. This is not a naturalistic scene, but a synthetic vision of a hunting festival.

Stanisław Czajkowski was a painter associated with the artistic circles of Kraków, Munich and Warsaw. Landscapes, views of villages and small towns, religious and folk celebrations, and scenes rooted in the rhythm of local culture occupied an important place in his work. Dating the painting to 1938 places it within the late period of the artist’s career.