Between 1904 and 1909 José Gutiérrez Solana addressed the subject of cult images and processions with which he became familiar through the works of Francisco de Goya and the book España Negra [Black Spain] by Darío de Regoyos and Émile Verhaeren. In contrast to his early compositions depicting these motifs, in Procesión de noche [Night Procession] the artist used a close and strictly frontal perspective, a strategy in keeping with his immediate and anti-rhetorical way of portraying the world.

By placing the half-bodied confreres at the height of the spectators view the artist created a physical confrontation within the canvas. Paradoxically, movement, feelings, and expression are concentrated in the religious images that are placed in the upper part of the painting, while the lower section is occupied by human figures characterized by verticality, inexpressiveness and static poses.

A factor contributing to the confusion generated by these two planes is the fact that the sculptures represent two of the most dramatic and humane episodes of the Passion: that of the Veronica, who offers Christ a cloth to wipe his face, and the Flagellation.