Sir Joshua Reynolds in the period through 1769 to 1790 gave the currency to the term with his Discourses on Art, which was a series of lectures at the Royal Academy. During this period, Joshua insisted that painters should make out their subjects through idealization and generalization instead on just relying on the general copy of the subject. The painter never used the phrase, but instead referred it to as the grand or great style.

In this particular painting of Lady Delme with her children, this artist created an idealized image of a majestic feminine grace which to date continues to have many precedents in the grand art. Lady Elizabeth Demle encircles arms, regal folds deep rose frippery on her knees that are evocative of Madonna and child, as well as the outstanding quiet manner. The compositions are by Raphael. The art's rich and warm color of the informal background landscape, as well as the beautifully penetration and movement of light in the background, on the other hand, have a lot to do with the Titian. We can say that Joshua’s every day’s intimate work details were also thrown in here. This would prevent the portrait from being both unapproachable and remote at the same time.

In the portrait, Lady Elizabeth Demle is seen holding her kids with much tenderness, and illicit some shades of personality in all the three faces. Also, when you can look at the costumes of the two children, you can conclude that they are realistic. Finally, you can’t finish before noticing the attentive posture of the Skye terrier. This alone gives the painting some degree of sophistication and the familiar context in the same measures.

Joshua Reynolds, in the 1740s, used to be an apprentice of Thomas Hudson, who was born in Devon and used to be a fashionable London portrait painter. He had a massive collection of Old Master drawing comprising of those done by Guercino. Joshua would make copies of these paintings. Thomas remains to be one of Joshua Reynolds’ inspirations.