Joshua Reynolds in the context of "The Royal Academicians in General Assembly"

The aristocracy (from Greek ἀριστοκρατία aristokratía, "rule of the best"; Latin: aristocratia) is historically associated with a "hereditary" or a "ruling" social class. In many states, the aristocracy included the upper class with hereditary rank and titles. They are usually below only the monarch of a country or nation in its social hierarchy.

The Ladies Waldegrave is a group portrait by Joshua Reynolds from 1780–81, now in the Scottish National Gallery, who acquired it in 1952. It shows the three daughters of James Waldegrave, 2nd Earl Waldegrave, and Maria Walpole – from left to right, Charlotte (holding a skein of silk), Elizabeth (winding Charlotte's skein onto a card) and Anna (producing tambour lace). Exhibited at the Royal Academy in 1781, it was commissioned the previous year by the subjects' mother in the hope of attracting potential suitors for them – all three of them were then unmarried.

Shakespearean tragedy is the designation given to most tragedies written by William Shakespeare. Many of his history plays share the qualifiers of a Shakespearean tragedy, but because they are based on real figures throughout the history of England, they were classified as "histories" in the First Folio. The Roman tragedies—Julius Caesar, Antony and Cleopatra and Coriolanus—are also based on historical figures, but because their sources were foreign and ancient, they are almost always classified as tragedies rather than histories. Shakespeare's romances (tragicomic plays) were written late in his career and published originally as either tragedy or comedy. They share some elements of tragedy, insofar as they feature a high-status central character, but they end happily like Shakespearean comedies. Almost three centuries after Shakespeare's death, English scholar Frederick S. Boas also coined a fifth category, the "problem play," for plays that do not fit neatly into a single classification because of their subject matter, setting, or ending. Scholars continue to disagree on how to categorize some Shakespearean plays.

Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria (1837–1901). Victoria's early reign was characterised by rapid industrial development and social and political change, which made the United Kingdom one of the most powerful and advanced nations in the world. Painting in the early years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president, Joshua Reynolds. Reynolds and the academy were strongly influenced by the Italian Renaissance painter Raphael, and believed that it was the role of an artist to make the subject of their work appear as noble and idealised as possible. This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne, this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it.

In the late 1840s and early 50s, a group of young art students formed the Pre-Raphaelite Brotherhood as a reaction against the teaching of the Royal Academy. Their works were based on painting as accurately as possible from nature when able, and when painting imaginary scenes to ensure they showed as closely as possible the scene as it would have appeared, rather than distorting the subject of the painting to make it appear noble. They also felt that it was the role of the artist to tell moral lessons, and chose subjects which would have been understood as morality tales by the audiences of the time. They were particularly fascinated by recent scientific advances which appeared to disprove the Biblical chronology, as they related to the scientists' attention to detail and willingness to challenge their own existing beliefs. Although the Pre-Raphaelite Brotherhood was relatively short-lived, their ideas were highly influential.

Benjamin West PRA (October 10, 1738 – March 11, 1820) was an American-born painter who specialised in history painting, creating such works as The Death of Nelson, The Death of General Wolfe, the Treaty of Paris, and Benjamin Franklin Drawing Electricity from the Sky.

Entirely self-taught, West soon gained valuable patronage and toured Europe, eventually settling in London. He impressed King George III and was largely responsible for the launch of the Royal Academy, of which he became the second president (after Sir Joshua Reynolds). He was appointed historical painter to the court and Surveyor of the King's Pictures.

James Waldegrave, 2nd Earl Waldegrave, KG, PC, FRS (4 March 1715 – 13 April 1763) was a British politician who is sometimes regarded as one of the shortest-serving prime ministers in British history. His brief tenure as First Lord of the Treasury is lent a more lasting significance by his memoirs, which are regarded as significant in the development of Whig history.

Waldegrave served as a governor to The Prince of Wales (the future George III) and Prince Edward from 1752 to 1756. After the resignation of the Duke of Newcastle as prime minister and the dismissal from office of the influential minister William Pitt, George II invited Waldegrave to take over the position of the First Lord of the Treasury. Waldegrave tried to form a government from 8 to 12 June 1757, but failed to do so and stepped down

Grand manner refers to an idealized aesthetic style derived from classicism and the art of the High Renaissance. In the eighteenth century, British artists and connoisseurs used the term to describe paintings that incorporated visual metaphors in order to suggest noble qualities. It was Sir Joshua Reynolds who gave currency to the term through his Discourses on Art, a series of lectures presented at the Royal Academy from 1769 to 1790, in which he contended that painters should perceive their subjects through generalization and idealization, rather than by the careful copy of nature. Reynolds never actually uses the phrase, referring instead to the "great style" or "grand style", in reference to history painting:

Originally applied to history painting, regarded as the highest in the hierarchy of genres, the Grand Manner came thereafter also to be applied to portrait painting, with sitters depicted life size and full-length, in surroundings that conveyed the nobility and elite status of the subjects. Common metaphors included the introduction of classical architecture, signifying cultivation and sophistication, and pastoral backgrounds, which implied a virtuous character of unpretentious sincerity undefiled by the possession of great wealth and estates.

Portrait of Mai (Omai) (also known as Portrait of Omai, Omai of the Friendly Isles or simply Omai) is an oil-on-canvas portrait of Omai, a Polynesian visitor to England, by Sir Joshua Reynolds, completed about 1776.