The career of Michael Rysbrack exemplifies the profound influence of French and Netherlandish art in eighteenth-century Britain. When he immigrated to England in 1720, the young sculptor brought along the skills he had already acquired while training in Antwerp, probably under the Baroque sculptor Michiel van der Voort I (1667–1737); Rysbrack's ability to convey a lively likeness of his distinguished patrons soon helped make him the leading sculptor in England. His portrait busts exemplify the two main classicizing trends that dominated English taste in the first half of the century: the one a more severe emulation of Roman style, and the other, seen here, a more naturalistic and casual depiction of sitters in contemporary indoor dress (en negligé).

Rysbrack's fluid, pictorial handling of the subject's gown, a feminine, softened version of the Roman toga, gently evokes the spirit of antiquity promoted by the circle of Palladians around Lord Burlington, for whom Rysbrack, early in his career, had produced innovative architectural sculpture and monuments. Similarly, the strong diagonal of the cloak's edge and the piquant twist of braids atop the lady's head are suggestive of the goddess Diana's customary quiver strap and emblematic crescent. The delicate elaboration of the sitter's hairdo, most notable in profile view, also helps to offset her somewhat impassive aspect.