In the austere interior of a neo-Gothic Catholic church in north London, Zulawski's huge colourful painting has a privileged place. It is its most prominent feature. And one of the most interesting works of contemporary religious art. Late, one of the artist's last paintings, it is part of his explorations in the field of sacred art, conducted over several decades, culminating in paintings for the Divine Mercy Church in Lublin (painted around 1980). Żuławski also wrote frequently on the problems of figurative art and contemporary religious art, admitting in his essays and memoirs to a fascination with, among others, the work of Georges Rouault. The great London painting, however, presents an independent concept of church painting, a modern one, undoubtedly utilising the solutions of avant-garde visual art (e.g. Henri Matisse, Expressionism, 1960s neo-figuration), but at the same time legible to the faithful and close to their visual habits - also thanks to the inspiration of the tradition of Christian iconography. The composition, "full of hieraticism, solemnity and inner calm, bears certain echoes of monumental Byzantine painting, in which the figures are painted with large, contoured patches of strong uniform colours" (Jan W. Sienkiewicz). Like the Lublin paintings, the Baptism scene bears "features similar to other late works by the artist, i.e. flatness, painting with large, contoured patches of strong, uniform colours, bold colour combinations, almost poster-like" (H. Pitoń). In 1982, the painter was awarded the Polish Brother Albert Prize for Religious Art.