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
Bill Siddons the funeral and burial with Courson. However, he never saw Morrison's body due to there being a closed casket and his aversion to seeing his friend dead. “We buried Jim correctly,” says Siddons, “and that perhaps was my greatest achievement: making sure we kept it quiet until it was done the right way. Nothing to hide, but we knew what was going to happen because we’d just been through it with Jimi and Janis." After Morrison's death, Siddons continued to manage the remaining members of the Doors as they released two albums and toured. In 1972 he parted company with