Standing on the edge of a village near Chambéry, the hall church was built in 1837 under the supervision of the builder Tournier. The simple forms of the building probably refer to an earlier chapel, to which the relics of St Vincent were thought to have been brought in the 17th century. In 1931, a sacristy was added, and in 1947, parish priest Ernest Lansard undertook extensive work to modernise the interior of the church (electrics, heating), and the idea of a complete redesign was born. A wooden altar from the 18th century from the church in Maurienne was brought into the chancel and a new stone floor was laid. Once the old paintings had been removed, it was decided to commission a single wall painting to fill the chancel apse. This was probably the first major commission received by Jacek Stryjeński, who was educated in Switzerland during the Second World War (where he was interned in 1940 with the Second Division of Riflemen). He began his creative activity in Switzerland at the time. Most of his productions are in Geneva, including two large sets of works decorating churches and opera house decorations. He also worked there as a theatre set designer.

His only currently documented work in France is precisely the painting at Challes. It is divided compositionally into three parts, necessitated by the pilaster articulation of the apse walls. The central part is higher and divided in turn into an upper scene (the Virgin Mary on stylised clouds accompanied by groups of small angels, above her a large figure holding a crown of Christ) and a lower scene (two figures of saints each symmetrically flanking the tabernacle, which breaks the continuity of the painting). The side sections each depict four apostles in adoration or prayer and single, schematically marked trees with fine foliage. In some of the stylistic solutions (folds of drapery, faces, foliage), the painter seems close to the decorative style of his mother, Zofia Stryjeńska, from the inter-war period, as well as - for example, in the pastel colours - to the work of some of her colleagues from the Rhythm Association (e.g. Wacław Borowski).

The state of preservation of the painting is good, however, there are numerous small cracks, as well as local losses of plaster and paint layers. The work has not yet been published in either the Polish or the Swiss history of modern religious art.