This 1947 work exemplifies Ben Shahn's signature graphic style, characterized by a wiry, energetic ink line and flat washes of color. The work reinterprets the biblical story of Susannah, a virtuous woman falsely accused by two elders, a theme Shahn used to explore injustice. The medium and technique are hallmarks of his practice, stemming from his early training as a lithographer and his preference for water-based media like tempera and gouache, which enhanced the linear quality of his compositions.

Created in the post-war period, Susannah and the Elders is a prime example of Shahn's shift from the direct social reportage of the 1930s to what he termed “Personal Realism.” He began using allegorical, biblical, and mythological subjects to critique contemporary political anxieties, most notably the encroaching fear of McCarthyism. This work is therefore a significant piece marking a thematic evolution in his career, moving from specific events like the Sacco and Vanzetti trial to more universal, symbolic condemnations of persecution. It stands in stark contrast to the more commercial or minor untitled drawings among the comparables, representing a major, fully realized exhibition piece.

In 1947, Ben Shahn was at the zenith of his career and critical acclaim. This work was created just before his major retrospective at the Museum of Modern Art (MoMA), where it was prominently exhibited, a testament to its perceived importance at the time of its creation. Its subsequent inclusion in the prestigious 1954 Venice Biennale further cemented its status as a key work. The intensifying Cold War climate provided the immediate context for Shahn's turn to allegory, allowing him to voice dissent in a more veiled but no less potent manner, solidifying his reputation as a conscientious objector to political oppression.