Manner of Thomas Francis Dicksee, Viola Dressed as Cesario, Shakespeare's Twelfth Night – Mid-19th-century watercolour painting
Manner of Thomas Francis Dicksee, Viola Dressed as Cesario, Shakespeare's Twelfth Night – Mid-19th-century watercolour painting
Manner of Thomas Francis Dicksee, Viola Dressed as Cesario, Shakespeare's Twelfth Night – Mid-19th-century watercolour painting

Manner of Thomas Francis Dicksee Viola Dressed as Cesario, Shakespeare's Twelfth Night

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An original mid-19th-century watercolour painting – Manner of Thomas Francis Dicksee, Viola Dressed as Cesario, Shakespeare's Twelfth Night.

An exquisite Shakespearean portrait depicting Viola from Twelfth Night.

Disguised as the male Cesario, page to Duke Orsino, Viola stands with a ring in her hand, illustrating the lines from her famous soliloquy in Act II, scene 2 (pasted verso): 'I left no ring with her. What means this lady? / Fortune forbid, my outside have not charm'd her!'

The portrait captures the moment that Viola realises the web of deceit, love and misunderstanding that she has become entangled in—the source of the play's comedy and also its emotional power.

The heroine of the play, Viola is shipwrecked on the shores of Illyria and separated from her twin brother, Sebastian, not knowing whether he is alive or dead. Resolving to fend for herself, she dresses as a boy to get work as a page to the Duke Orsino. Orsino is in love with the Countess Olivia, and sends Viola to court her for him, but Olivia falls for Viola instead. Olivia sends a ring to Viola as a ruse to meet her again, and at this point Viola realises the consequences of her deception: that Countess Olivia is in love with her, whilst she in turn is in love with the Duke.

This portrait embodies Viola's conflicted feelings—her sympathy for Olivia, her passion for Orsino—and the universal truth that the course of true love never did run smooth.

The painting is in the style of the Victorian artist Thomas Francis Dicksee (1819–1895), who was often inspired by Shakespeare, particularly painting beautiful female protagonists in rich colour with a refined technique. The roundel composition gives the painting a jewel-like, portrait-miniature effect—the viewer drawn intently to the subject's face, with an Italian location just hinted at in the background.

Watercolour with white bodycolour on card. Cut to a circle and laid down on backing paper.

Provenance: from an album of works connected to Alice (1838–1860) and Mina Morton (1829–1880), daughters of the Irish missionary in India, William Morton.

+ Read the Artist Research

Thomas Francis Dicksee (1819–1895)

Thomas Francis Dicksee (1819–1895) was known for his romanticised portraits and literary-themed subjects. Born in London, he trained under his uncle, the artist John Robert Dicksee, and quickly aligned himself with the popular artistic tastes of the mid-19th century.

Dicksee became particularly recognised for his idealized depictions of women, many inspired by characters from Shakespeare. Works such as Ophelia, Juliet, and Amy Robsart reflect his preference for dramatic, emotionally expressive themes rendered with refined technique and rich colour.

He exhibited regularly at the Royal Academy of Arts from 1841 onward. In addition to literary subjects, he produced portraits of fashionable sitters and occasional historical scenes. His children, Sir Francis Dicksee and Margaret Isabel Dicksee, also became artists.

COA
+ Artwork Details

Dimensions: Height: 13cm (5.12") Width: 12.9cm (5.08")

Presented: Unframed.

Medium: Watercolour

Age: Mid-19th-century

Signed: No.

Inscribed: Inscribed lower centre and verso.

Dated: --

Condition: In good condition for its age. The picture may have minor imperfections such as slight marks, toning, foxing, creasing or pinholes, commensurate with age. Please see photos for detail.

Stock number: KD-168