Joanna Cornelia Ziesenis, née Wattier, as Epicharis in the Play of that name by G M J B Legouvé

The 1804 oil portrait of Joanna Cornelia Ziesenis as Epicharis, painted by Charles Howard Hodges, exemplifies early 19th-century Dutch portraiture within the broader Neoclassical movement that emphasized individual expression and theatrical representation. Scholarship situates this work within the cultural context of Dutch stage adaptations and the prominence of family networks in artistic patronage, reflecting the Wattier family's social connections in Amsterdam. Its depiction of theatrical performance aligns with contemporary literary trends, positioning it at the intersection of visual art and popular theater of the period.

The painting of Joanna Cornelia Ziesenis as Epicharis remained in the possession of the Rijksmuseum and was documented in its collection records as part of the Cultural Heritage Agency of the Netherlands Art Collection and the Stadsschouwburg Amsterdam holdings. Its provenance reflects continuous stewardship from its creation in 1804 to its current status within Dutch state-managed cultural repositories. The work is cited in scholarly assessments of 19th-century Dutch portraiture as an example of theatrical representation in early neoclassical painting, contributing to the historical understanding of stage costume and character depiction in Dutch art. Its inclusion in institutional inventories underscores its recognized significance within national cultural heritage frameworks.

In 1804 Charles Howard Hodges, an English painter active in the Dutch art scene, produced an oil portrait now held by the Rijksmuseum. The canvas captures Dutch actress Johanna Wattier in costume, portraying the historical figure Epicharis from the drama by G. M. J. B. Legouvé.

Hodges employs a restrained palette of muted yellows and blues, set against a dark interior that isolates the figure. The contrast of illuminated skin and drapery with the surrounding shadow demonstrates a chiaroscuro approach, emphasizing volume and the dramatic tension of the stage pose.