This painting exemplifies the Grand Manner style of portraiture that Reynolds specialized in and which propelled his career. Typically, such paintings were of family members or important patrons, and this is evident in the present work, which depicts Frances Seymour-Conway, the daughter of the Marquess of Hertford, who was a great admirer of Reynolds. Along with a companion portrait of her sister Elizabeth, this painting demonstrates the artist's mastery of paint and his ability to capture the fashionable sophistication of British high society.

Art historians Noémi Duperron and Lucy Davis note that the portraits emphasize the women's stylish hairstyles and clothing, with Reynolds using different consistencies of paint to convey the light and transparency of the frilled collars. He also worked quickly, employing a wet-in-wet technique to capture the sisters' clothing.

Yet Reynolds was not simply interested in creating glamorous images. He also sought to convey the humanity of his sitters. In this painting, Frances is depicted with a pose that reflects her recent widowhood, inspired by Italian painting techniques that conveyed melancholy and thoughtfulness. Through this depiction, Reynolds captures not only her grief but also an idealized image of femininity that is both fashionable and deeply emotional.