Sarah Siddons of feminine propriety. Commissioned and completed in 1784, Sir Joshua Reynolds' portrait, "Sarah Siddons as The Tragic Muse", is characterized by Reynolds' inspiration, contextualisation of the Muse, and distinctive brush work and paint palette. This portrait, as Heather McPherson writes, became the known depiction of tragedy, infused with contemporary ideas about acting and representation of the passions in Siddons' melancholy expression and deportment. Mary Hamilton's correspondence with her fiancé illuminated its seamless transition from "the artist's studio to the theatrical stage", practical venues that interlocked in the eighteenth century and formed a large part in creating the very idea of
Mary Frances Scott-Siddons France, on November 19, 1896, and was buried at Brookwood Cemetery, in Brookwood, Surrey, England. Her 8 April 1867 performance as Rosalind was thus noticed in the "Daily Telegraph" (April 10, 1867):— Further, he Daily News (April 9, 1867) expressed the opinion that:— Also, "Bell's Life" in London, April 13, 1867, said:— A criticism of her November 30, 1868 performance as Rosalind at the New York Theater appeared in the "New-York Tribune", December 1, 1868:— Mary Frances Scott-Siddons Mary Frances Scott-Siddons (1844 – 8 November 1896) was a British actor and dramatic reader. Her paternal great-grandmother was Sarah Siddons. After