During World War I, Rosandić went through a gradual liberation from the Art Nouveau influences, turning towards realism and the Mediterranean Renaissance concept of sculpture, which was more congenial to him, a Dalmatian by birth. During the war, his artistic interests were focused on human catastrophe and war suffering.
The elongated, ascetic, standing figure of Jesus, with his hands tied behind his back, symbolizes the human hardship during World War I. The impression of monumentality was created through peculiar stylization of the figure's expression and posture. Within the context of the Serbian sculpture of the first half of the 20th century, this is an original artistic achievement in terms of the treatment of the material, approach to the form and the synthesis of expression. The sculpture was first exhibited in Belgrade in 1922.