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
Sarah Siddons as the Tragic Muse outlining that looked to reinforce natural harmony. The subject is in the full light and her presence is boldly outlined using this technique. The two allegories, Pity and Terror, stand behind her on two deeper planes. Expression of Tragedy: Reynolds painted Siddons' expression clearly in conflict yet with a very elegant and noble air that exuded a sense of grace. She looks undecided as the allegories cloud her judgment about her difficult situation which nevertheless will end in tragedy for the crime Lady Macbeth will commit, and the remorse she will suffer. Reynolds knew that viewers of the piece would