Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 73 værker af Thomas Francis Dicksee i vores katalog
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Af alle de originale værker, som Thomas Francis Dicksee efterlod, er det mest berømte Ophelia (1873), som er en del af samlingen på Touchstones Rochdale i Rochdale. Lige efter følger Charles Thomas Longley (1794–1868), Archbishop of Canterbury (1838) og George Stephenson (1781–1848) (1838). Vores katalog indeholder 73 værker af Thomas Francis Dicksee; galleriet har bevaret de 64 værker, som verden beundrer mest, hver vist med sin dato, sit museum og sin historie.
In this 1873 oil on canvas, Thomas Francis Dicksee captures the tragic figure of Ophelia from the works of William Shakespeare. The British painter moves beyond mere portraiture to inhabit the psychological weight of the character from Hamlet. She sits amidst the natural world, a solitary presence defined by a quiet, heavy stillness. The subject is stripped of the courtly noise of Elsinore, left instead to the gravity of her…
A single light source descends from the upper left, carving the face of Charles Thomas Longley out of a heavy, dark void. The light catches the ridge of a nose and the soft texture of skin, casting the rest of the figure into a quiet, shadowed depth. He is a man of gravity, draped in the heavy folds of clerical robes that suggest the weight of his office. The fabric…
George Stephenson sits in a quiet moment of repose, his presence filling the frame with a heavy, settled authority. He is captured in a three-quarter view, seated within a chair that anchors him to the space. The light falls from the left, washing over his face and the crisp white of his collar, while the rest of his form recedes into a deep, shadowy background. This deliberate use of light…
In this 1844 portrait, we find ourselves in the presence of Charles Druce, a man whose life spanned the late eighteenth and mid-nineteenth centuries. He is presented in a moment of quiet repose, seated within the deep red embrace of an armchair. The composition is intimate, with the subject occupying much of the vertical space, creating a sense of immediate, personal encounter. He is dressed in the somber, formal attire…
This oil painting by Thomas Francis Dicksee depicts Sir George Cayley, 6th Bt. Created about 1840, the portrait captures the likeness of the English engineer, inventor, and aviator. The subject is presented in a formal pose that reflects his historical standing. Cayley is recognized for his contributions to aeronautical engineering, having designed the first glider reported to carry a human aloft. His work in understanding the forces of flight has…
Thomas Francis Dicksee rendered this portrait of James Duffield Harding about 1840. The work presents the subject in a classical style, focusing on a bust-length depiction that emphasizes the individual's presence. Dicksee, a prominent Victorian portraitist, captures the sitter with a sense of formality and dignity.
The air in the room feels heavy with the scent of garden blooms and the cool metallic tang of polished silver. A young woman turns, her gaze catching the light as she looks back over a shoulder, her expression caught in a quiet, lingering moment of transition. She wears a bodice of rose-pink satin that catches the soft light from an unseen window, its sheen contrasting against the voluminous, creamy…
The artwork, titled A Labour of Love, from the "illustrated London News", is a monochromatic engraving created in 1860. The composition is vertically oriented, featuring a central figure of a woman carrying a young child across a landscape. The scene depicts a pastoral setting with rolling hills and foliage rendered through textured lines to establish a sense of depth.
In this 1873 oil on canvas, Thomas Francis Dicksee captures the tragic figure of Ophelia from the works of William Shakespeare. The subject is a woman in a white dress, a solitary presence defined by a quiet, heavy stillness. She sits amidst the natural world, stripped of the courtly noise of Elsinore, left instead to the gravity of her own sorrow. Her hands are clasped, a gesture of internal retreat…
In this captivating portrait by the Victorian master Sir Thomas Francis Dicksee, we are transported to an era of profound theatricality and aristocratic splendor. The painting centers on a figure of immense presence, draped in a luminous yellow coat adorned with intricate gold trim that seems to catch a hidden light source. This central subject, rendered with a meticulous attention to texture and luster, wears a crown that signals a…
The Discovery of the Gunpowder Plot and the Taking of Guy Fawkes1823 · Laing Art Gallery
12
The Progress of Civilisation (The Ancient Britons Instructed by the Romans in the Mechanical Arts)1831 · Ferens Art Gallery
13
At The Opera
14
Thomas Young (1773–1829) (copy after Thomas Lawrence)1822 · The Royal Society
15
John Shore (1751–1834), 1st Baron Teignmouth, President of the Bible Society1822
16
The Search for the Heliotrope1819
17
Mrs Thomas Lee1830
18
The Challenge of Rodomont to Rogero1827 · Birmingham Museum and Art Gallery
19
Thomas Lee, Senior (1756–1836), of Barnstaple, Devon1830
20
Romeo and Juliet Act II Scene 5 ('Juliet and her Nurse')1827
21
Sir Samuel Meyrick (1783–1848)1830 · Torre Abbey Historic House And Gardens
22
Charles Kemble1830 · National Portrait Gallery
23
Colonel Blood Stealing the Crown Jewels1824
24
Robert Blake (1599–1657), General at Sea1829 · National Maritime Museum
25
Charles Turner (1788–1861), Mayor of Norwich (1834)1836
26
Charles Kemble (1775–1854)1832 · Dulwich Picture Gallery
27
Rajah Rammohun Roy (1774–1833)1832 · Bristol Museum - Art Gallery
28
The Duke of Wellington Wearing the Order of the Golden Fleece1837
29
Sir William Elias Taunton (1773–1835)1833
30
Arthur Wellesley (1769–1852), 1st Duke of Wellington, Soldier and Statesman1837 · Scottish National Portrait Gallery
31
Edward Smith Stanley (1799–1869), 14th Earl of Derby1839
32
Portrait of an Unknown Gentleman1840
33
Richard Jenkyns (1782–1854)1841 · Balliol College
34
Sir Edward Codrington1843 · National Portrait Gallery
35
Sydney Smith (replica by of an original of 1833 by the artist)1840
36
William Allen (1770–1843), FRS, First President of the Pharmaceutical Society (1841–1843)1844
37
Frederick Crace1849
38
Frederick Crace1849
39
Ideal Portrait of Lady Macbeth1870 · Walker Art Gallery
40
Juliet1877 · Sunderland Museum - Winter Gardens
41
Juliet on the Balcony1875
42
Matthius Sidney Smith Dipnall1890 · Christ's Hospital Foundation
43
Portrait of a Young Lady Sitting with FanTe Whare O Rehua Sarjeant Gallery
44
An offering
45
Little Florist
46
Sir John Jacob Buxton (1788–1842), 2nd Bt
47
J. D. Bligh (1799–1872)
48
Arthur Wellesley (1769–1852), 1st Duke of Wellington, Prime Minister
49
Frederick R. Lee (1798–1879), RAMuseum of Barnstaple And North Devon
50
Elizabeth Clarke Richardson
51
Funeral Of A Viking
52
Miranda
53
Flowers of June
54
Juliet
55
John Richardson Ii
56
La Belle Dame Sans Merci
57
William Beamont
58
Anthony White
59
Edward Maltby (1770–1859), DD, Bishop of Durham (1836–1856)Durham University
60
'The Two Gentlemen of Verona', Act II, Scene 1, Milan, The Duke's Palace Valentine, Speed and Silvia
61
A Lady’s Head (study)Royal Albert Memorial Museum
62
Little FloristGallery Oldham
63
The First Interview between the Spaniards and the Peruvians1827
64
Visit of George III to Howe's Flagship, the 'Queen Charlotte', on 26 June 17941828 · National Maritime Museum
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Thomas Francis Dicksee | Malerier fra denne liste |
|---|---|---|---|
 National Portrait Gallery |
London | 4 | Sir George Cayley, 6th Bt, James Duffield Harding, Charles Kemble |
 Dulwich Picture Gallery |
London | 2 | Charles Druce (1762–1845), Charles Kemble (1775–1854) |
 National Maritime Museum |
London | 2 | Robert Blake (1599–1657), General at Sea, Visit of George III to Howe's Flagship, the 'Queen Charlotte', on 26 June 1794 |
 Touchstones Rochdale |
Rochdale | 1 | Ophelia |
 Institution of Mechanical Engineers |
London | 1 | George Stephenson (1781–1848) |
 Metropolitan Museum of Art |
New York | 1 | A Labour of Love, from the "illustrated London News" |
 Bilbao Fine Arts Museum |
Bilbao | 1 | Ophelia |
 Government Art Collection |
London | 1 | Charles Grant (1778–1866), 1st Baron Glenelg, Politician |
Vælg et årti for at se det originale værk, der definerer det.
The artwork is titled The Challenge of Rodomont to Rogero. It was executed by the British painter Thomas Francis Dicksee. This specific piece dates to about 1827.
A single light source descends from the upper left, carving the face of Charles Thomas Longley out of a heavy, dark void. The light catches the ridge of a nose and the soft texture of skin, casting the rest of the figure into a quiet, shadowed depth. He is a man of gravity, draped in the heavy folds of clerical robes that suggest the weight of his office. The fabric…
In this 1844 portrait, we find ourselves in the presence of Charles Druce, a man whose life spanned the late eighteenth and mid-nineteenth centuries. He is presented in a moment of quiet repose, seated within the deep red embrace of an armchair. The composition is intimate, with the subject occupying much of the vertical space, creating a sense of immediate, personal encounter. He is dressed in the somber, formal attire…
The air in the room feels heavy with the scent of garden blooms and the cool metallic tang of polished silver. A young woman turns, her gaze catching the light as she looks back over a shoulder, her expression caught in a quiet, lingering moment of transition. She wears a bodice of rose-pink satin that catches the soft light from an unseen window, its sheen contrasting against the voluminous, creamy…
In this 1873 oil on canvas, Thomas Francis Dicksee captures the tragic figure of Ophelia from the works of William Shakespeare. The British painter moves beyond mere portraiture to inhabit the psychological weight of the character from Hamlet. She sits amidst the natural world, a solitary presence defined by a quiet, heavy stillness. The subject is stripped of the courtly noise of Elsinore, left instead to the gravity of her…
The portrait of Matthius Sidney Smith Dipnall emerges from the canvas as a quiet encounter with a man of significant presence. Painted by Sir Thomas Francis Dicksee, the work captures a specific moment of stillness. The subject sits with a certain gravity, his gaze fixed and his expression stern, as if caught in the middle of a profound thought or a serious deliberation. There is a weight to his posture…
Ophelia (1873), Touchstones Rochdale, Rochdale. Derefter følger Charles Thomas Longley (1794–1868), Archbishop of Canterbury (1838) og George Stephenson (1781–1848) (1838).
55 år gammel: Ophelia er fra 1873, og Thomas Francis Dicksee blev født i 1818.
Ophelia, Charles Thomas Longley (1794–1868), Archbishop of Canterbury, George Stephenson (1781–1848), Charles Druce (1762–1845), Sir George Cayley, 6th Bt, James Duffield Harding, Anne Page, A Labour of Love, from the "illustrated London News", Ophelia og Charles Grant (1778–1866), 1st Baron Glenelg, Politician. Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 73 værker af Thomas Francis Dicksee, dateret fra 1827 til 1890.
Primært i National Portrait Gallery (London), Dulwich Picture Gallery (London) og National Maritime Museum (London). Museumslisten ovenfor viser dem alle.
I 1830s: 15 af de 64 værker på denne side blev skabt dengang, herunder Charles Thomas Longley (1794–1868), Archbishop of Canterbury.
På denne side er det tidligste The Challenge of Rodomont to Rogero (1827) og det seneste Matthius Sidney Smith Dipnall (1890).
Man (23), Chair (13) og Suit (12), fordelt på de 64 værker på denne side.
Oil, for 26 af de 64 værker på denne side.
Sir George Cayley, 6th Bt, James Duffield Harding og Charles Kemble: National Portrait Gallery, London har 4 af værkerne på denne side.
Sir Thomas Francis Dicksee (1819-1895) står som en betydningsfuld, omend ofte overset, skikkelse i det 19. århundredes britiske kunst. Mere end blot en portrætmaler formåede Dicksee at skabe sig en helt særlig niche gennem sine stemningsfulde skildringer af Shakespeareanske scener og sine minutiøst udførte victorianske genrebilleder. Hans lærreder er gennemsyret af en romantisk sanselighed, der indfanger ikke blot ligheder, men også den følelende dybde og dramatiske intensitet hos både litterære karakterer og det daglige liv. Født i London blev Dicksees kunstneriske rejse formet af tidlig undervisning fra hans far, som selv var maler, hvilket lagde fundamentet for en karriere dedikeret til visuel historiefortælling.
Dicksees kunstneriske udvikling kan spores gennem hans tidlige udstillinger på Royal Academy, begyndende i 1841. Indledningsvist fokuserede han på portrætkunst og opnåede hurtigt et ry for at indfange sine subjekters personlighed med bemærkelsesværdig præcision og følsomhed. Det var dog hans fascination af Shakespeare, der for alvor definerede hans værk. Han malede ikke blot scener fra teaterstykker; han søgte at legemliggøre karakterernes ånd – Ophelias tragiske skønhed, Beatrices flammende kløgt, Mirandas æteriske ynde og Ariels drilske charme. Dette var ikke blot illustrationer til et skuespil, men selvstændige kunstværker, gennemsyret af Dicksees egen kunstneriske vision.
Dicksees arbejde er dybt forankret i romantikken og har arvet dens vægtning af følelser, fantasi og det sublime. Alligevel formåede han dygtigt at tilpasse disse principper til den specifikke kontekst i det victorianske England. Denne æra var karakteriseret ved en fascination af moral, social orden og hjemlig hygge – temaer, der ofte optræder i Dicksees genrebilleder. Han skildrede ofte kvinder engageret i stille, hjemlige sysler—læsning, syning eller modtagelse af gæster—men altid med en underliggende følelse af melankoli eller længsel. Denne sammenstilling af romantisk idealisme og victoriansk tilbageholdenhed er netop det, der giver hans malerier deres unikke karakter.
Desuden gav Dicksees kunstneriske uddannelse under H.P. Briggs ved Royal Academy Schools ham et solidt teknisk fundament. Han mestrede oliemalingens teknikker, især når det gjaldt gengivelsen af tekstiler, teksturer og lys. Hans minutiøse opmærksomhed på detaljen—folderne i en kjole, smykkernes glimt, ansigtets udtryk—bidrager væsentligt til realismen og den følelsesmæssige slagkraft i hans værker. Han var også inspireret af kunstnere som Thomas Lawrence, hvis portrætter betonede elegance og social ynde, selvom Dicksee tilførte sine motiver en større grad af dramatisk intensitet.
Dicksees mest fejrede malerier er uden tvivl dem, der skildrer Shakespeareanske karakterer. “A Labour of_of Love”, udstillet i Illustrated London News i 1876, forbliver et af hans mest ikoniske værker. Scenen indfanger Ophelias hjerteskærende afsked med Hamlet, udført med udsøgt detaljerigdom og en mærkbar følelse af sorg. Andre bemærkelsesværdige eksempler inkluderer "Beatrice", som perfekt legemliggør karakterens flammende ånd, og “Miranda”, der indfanger hendes uskyld og skønhed inden for rammerne af Prosperos ø.
Udover sine Shakespeareanske motiver producerede Dicksee også en betydelig mængde portrætkunst. Han malede talrige medlemmer af den britiske adel, herunder fremtrædende skikkelser som Richard Jenkyns, Thomas Young (en kopi efter Thomas Lawrence) og Sir Francis Grant selv. Disse portrætter er ikke blot ligheder; de afslører personlighederne og den sociale status hos deres modeller med bemærkelsesværdig indsigt. Hans evne til at indfange både det fysiske udseende og den indre karakter gjorde ham til en eftertragtet portrætmaler blandt de velhavende og indflydelsesrige.
På trods af hans betydelige talent og succes er Dicksees arbejde ofte blevet overskygget af andre victorianske kunstnere. Dog er nyere forskning begyndt at anerkende hans unikke bidrag til den britiske kunsthistorie. Hans Shakespeareanske scener tilbyder i særdeleshed et værdifuldt vindue ind i den victorianske fascination af litteratur og drama. Dicksees malerier er ikke blot dekorative; de er gennemsyret af en dyb følelse for menneskelig emotion og psykologisk dybde.
Ydermere afspejler Dicksees karriere de bredere sociale og kulturelle forandringer, der fandt sted i det 19. århundredes Storbritannien. Hans arbejde giver indsigt i victorianske holdninger til kønsroller, klasseskel og forholdet mellem kunst og samfund. Hans eftermæle fortsætter med at resonere i dag og minder os om den vedvarende kraft i visuel historiefortælling og vigtigheden af at bevare den kunstneriske arv fra en svunden æra.
