How did interest in Greco-Roman antiquity affect Joshua Reynolds's portraits?

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Joshua Reynolds: self-portrait — Joshua Reynolds Joshua Reynolds, detail of self-portrait, oil on panel, 1780; in the Royal Academy of Arts, London.

Joshua Reynolds’s interest in Greco-Roman antiquity significantly shaped his approach to portraiture by emphasizing the "Grand Style," which sought to elevate the status of painting through scholarship and formal rhetoric.1

His engagement with the classical world manifested in several ways:

Inspiration from Sculpture: During his time in Rome, Reynolds studied ancient masterpieces, which informed his compositions. For example, his portrait of Augustus Keppel utilized a pose derived from the Apollo Belvedere, blending classical form with the vigor of a contemporary naval officer.1
Academic Rigor: Reynolds advocated for the study of sculptural definition and form, believing that allying painting with classical scholarship was essential for professional prestige.1
Stylistic Shift: After 1760, as European interest in Greco-Roman antiquity grew, Reynolds’s work became increasingly classical and self-conscious. The poses and attire of his sitters adopted more rigid, antique patterns. While this reflected his academic ideals, it sometimes resulted in a loss of the natural sympathy and understanding present in his earlier, more vigorous portraits.1