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
Thomas Beach actress Sarah Siddons several times. In his first portrait of her, painted in the winter of 1781–2, she is shown seated, in everyday clothes, holding a book. He depicted her again later in 1782, in one of his more ambitious works, an allegorical portrait inspired by Milton's "Il Penseroso", in which she represented the personification of "Melancholy". In 1787 he painted "Mrs. Siddons and John Kemble in the Dagger Scene in Macbeth", of which the actress wrote, "My brother's head is the finest I have ever seen, and the likest of the two". He was a member of the Incorporated