寇特（Pierre Auguste Cot, 1837-1883）是法國十九世紀晚期的學院主義畫家，師承亞歷山大‧卡班內（Alexandre Cabanel, 1823-1889）和威廉‧亞杜夫‧布葛赫（William Adolphe Bouguereau, 1825-1905）。寇特以嚴謹、精巧的繪畫特色著稱，並擅長描繪女子題材，本作即屬此類。

畫中的黛妮希雅抱著各種花朵側身坐在林間的岩石上，她頭戴著綴有白色小花的髮圈，面帶微笑地回頭與觀者對視，左手扶著懷中的花朵，右手則輕輕地拾起裙襬圍起花朵，展現出她甜美優雅的氣質。她身上露肩且樸素的白衣灰裙，除了展露其白皙嬌嫩的肩頸肌膚，更配合後方山石的自然景色，試圖凸顯黛妮希雅宛如牧羊女般美好無慮的精神。此外，自她手臂肩垂落的金色絲質披巾卻又為她帶來了幾分華貴之氣。畫家將黛妮希雅放置在以暗褐色調的山林之中，唯有透過畫面右上方微弱的天光，仍依稀看見遠方的山石和林木。但在暗色背景的對比下，不僅使得前景位於亮處的黛妮希雅顯得更為清晰，更將她白裡透紅的雙頰和粉白柔嫩的肌膚襯托得更為甜美迷人。(徐鈺涵)

Pierre Auguste Cot (1837-1883) was a French artist of the Academicism style from the late 19th century. He studied under both Alexandre Cabanel (1823-1889) and William Adolphe Bouguereau (1825-1905). Not much is known about the life of Cot but he was well-known for his conservative yet delicate Academicism style of painting. He was especially skilled in portraying women; this work falls under that category.

In the painting, Dionysia is sitting sideways on a rock in a forest with her arms around a bundle of flowers. She is adorned with a garland decorated with little white flowers while she gazes at the audience with a soft smile on her face. Her left hand gentle holds the bundle of flowers, while her right hand languidly holds up her apron to wrap the flowers, showing an air of elegance. She is wearing a simple dress of white and grey that leaves her shoulders bare. Apart from displaying the pale skin of her neck and shoulders, it also complements the natural scenery of the rock and forest behind her. Overall it emphasizes Dionysia's carefree innocence as if she were a simple shepherdess. In addition, the gold scarf which hangs from her arms adds an air of refinement. The artist places the setting in a dim forest of dark brown tones. Through a sliver of pale sky in the top right corner, rocks and forest can be discerned faintly. In contrast to the such dark colors, Dionysia, who is situated in the foreground of the scene, appears clearly. The dark background also brings out her pink blushing cheeks and pale delicate skin, making her even more lovely under the contrast. (Yu Han HSU)