Vibert is best known for his satirical scenes from ecclesiastical life.

Here he draws a contrast between the inspired and modest missionary and the prelates in the midst of their comforts. The cardinals lounging on the sofa and purple-robed bishop savoring his tea are indifferent to the monk's account of his mission and to the wound he received carrying it out.

Ribera's terrifying Martyrdom of Saint Bartholomew (Museo del Prado, Madrid), on the wall in this luxurious interior, adds a harsh note of irony to the scene below it. The church leaders are enthralled by by the stories of their missionary told in great detail painted by Vibert in 1883 and this engraving is in honor of the 1885 induction of the piece into the Library of Congress due to the extreme popularity enjoyed by Vibert in the United States.

He was born in Paris, the son of engraver and publisher Théodore Vibert, and grandson of the influential rose-breeder Jean-Pierre Vibert. He began his artistic training at a young age under the instruction of his maternal grandfather, engraver Jean-Pierre-Marie Jazet. Vibert was more interested in painting than engraving and entered the studio of Félix-Joseph Barrias and eventually the École des Beaux-Arts when he was sixteen. He remained at the École for six years under the instruction of history painter François-Edouard Picot.

Vibert debuted at the Salon of 1863 with La Sieste (The Siesta) and Repentir (Repentance).

During the Franco-Prussian War, Vibert became a sharpshooter and was wounded at the battle of Malmaison in October 1870.[2] In recognition of his sacrifice, he was awarded a Knight in France's Legion of Honour on 18 June 1870,[3] which was upgraded to the Legion of Honour rank of Officer on 18 February 1882.[4]

Vibert submitted work to the Salon until 1899. The popularity of his works spread, notably in America, and fetched high prices including commissions from John Jacob Astor IV and William Vanderbilt. A large collection of works by Vibert was amassed by the heiress May Louise Maytag on behalf of then bishop of Miami Coleman Carroll, who greatly fancied them. This large cache was then donated to the Florida seminary St. John Vianney College in Miami. At this location the impressive collection has had a somewhat checkered conservation history, as well as exhibition history due to the discomfiture of later bishops with the seeming anti-clericalism of the paintings (lighthearted debaucheries, etc.).