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Mary Stuart

Friedrich Schiller

Methuen Drama

2009

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'Scotland may be a savage nation, Lady, but the English wash their hands in blood.' Mary Stuart tells the story of the personal struggle between two extraordinary women - one French, one English - both captive to the demands of sovereignty and both caught in a tumult of political and religious intrigue. Which of them is the rightful Queen of England - Mary Stuart or Elizabeth Tudor? Mary Stuart, written in 1800 by Friedrich Schiller, is presented in this new version by Mike Poulton following his Don Carlos for Sheffield/West End. The play was produced at Clwyd Theatr Cymru 7-30 May 2009. 'Magnificent ...Mike Poulton's fleet and vivid translation ...all the deftly plotted twists and turns of a thriller. You lean forward in your seat, desperate to discover what happens next ...a masterpiece' Daily Telegraph on Mike Poulton's version of Schiller's Don Carlos.

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Gilbert Stuart and the Impact of Manic Depression

Dorinda Evans

Ashgate Publishing Limited

2013

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Early American painter Gilbert Stuart has long been mistakenly represented as a hard-drinking rogue, habitual liar, and inexplicable financial failure. To explain his stylistic unevenness as an artist, he is assumed to have had an inferior assistant, but the documentary evidence for an assistant who painted on his portraits is non-existent-in fact, there is evidence to the contrary. This ground-breaking study demonstrates that Stuart suffered from a hereditary form of manic depression, leading him to create pictures that contain peculiar lapses characteristic of a manic-depressive, or bipolar, artist. Using documentary and empirical evidence-from diaries and letters to x-radiographs of paintings-this book fills important gaps in our knowledge of Stuart, and connects the strange visual effects in some of Stuart's paintings with cognitive deficits attendant with the disorder. In addition to Stuart, other bipolar artists, including George Romney, Raphaelle Peale, Gilbert Stuart Newton, and William Rimmer, are discussed in relation to these deficits, revealing patterns which carry broader implications for all manic-depressive artists. This volume is a significant contribution not only to studies of Stuart and the four other painters but also to our understanding of the mind of a manic-depressive artist. It bridges the broad disciplines of art history and psychopathology.

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