It has emotional reserve, often contains a hint of humor and at times recalls the childlike sagacity of the great Paul Klee.

[4] Her parents cautioned her against majoring in a subject, such as fine arts, where graduates' job prospects were practically nil.

[3] She was offered a scholarship to study in Paris, France for 6 months, but her widowed mother forbid her to go abroad, so she returned to Baltimore and began to freelance as an illustrator, making drawings for department store ads.

[3] Rothschild had a few small landscape oil paintings accepted for the seventh annual exhibition of Maryland painters, a juried show held in 1939 the Baltimore Museum of Art.

[13][14] Rothschild made a conscious decision to remain a regional artist and did not energetically seek to establish a national reputation.

"[4] During the Jewish Women's Archive oral history interview Rothschild said that she her style gradually evolved from realist to abstract during the 1940s and early 1950s.

In 1958 a gallerist described the paintings in her emerging geometric style as "personal abstract statements characterized by subtlety of color, symbol, and pattern.

"[17] Her interest in the human figure persisted even as what was seen as her "distinctive take on geometric abstraction" evolved, and many of her paintings contain elements that derive from parts of the body as seen from unusual angles.

[16][18] The 1968 acrylic painting "Ripening of the Oranges, Sicily" (shown at left) is said to be a first-rate example of how she relied upon a "gridded composition that allowed for both structural variation and representational allusion.

She took evening sculpture classes at the Baltimore Museum of Art and began to make assemblages using found objects, including pieces of wood that she arranged to have cast in bronze at a foundry in Pennsylvania.

[21] During the years in which sculpture dominated her output she continued to make quick and spontaneous works on paper, both drawings and watercolors.

Shortly before her death she made a return to figuration in a set of small works on paper prepared for a solo exhibition at the C.Grimaldis Gallery called "Artist and Model."

In 2012 broadcast journalist Sheila Kast said "Amalie Rothschild (1916-2001) was one of Baltimore’s most prolific visual artists during the 20th century.

"[24] In the oral history interview she gave in the last year of her life Rothschild said that Matisse's practice of what she called "automatic drawings" helped her to achieve greater self-expressiveness.

All the same, a critic who reviewed a retrospective exhibition of her work at the Gomez Gallery saw her "singular devotion to her vision of abstractions based on geometric forms" as overly formal.

"Her work is pleasing, disciplined, often clever," he wrote, "but not amply challenging," adding that there he saw too little sense of struggle or pushing of boundaries.

It has emotional reserve, often contains a hint of humor and at times recalls the childlike sagacity of the great Paul Klee.

[4] During the next four years she taught at a small school that had been established to offer an alternative to what the organizers saw as the extreme conservatism of the Maryland Institute of Art.

Called the Metropolitan School of Art, it folded when the Maryland Institute brought in a new director and changed its policies.

[10][note 5] In 1952 she initiated the idea and helped to found the Baltimore Outdoor Art Festival which was subsequently held for nearly a quarter of a century in Druid Hill Park.

[4][30][note 7] Trained as an electrician while in the Navy, he subsequently founded and ran a Baltimore business called Eugene I. Rosenfeld & Co., electrical suppliers and contractors and still later owned a local automobile dealership.

Eugene Jr., after his father's death in 1932 took over the car dealership, and also owned two racehorses which he ran on tracks on the east coast.

[4] Randolph, called Randy, was a lawyer who worked in a business owned by his family, the Sun Life Insurance Co. At the time of his retirement in 1972 he was the company's vice president and general counsel.

He was also a fine amateur jazz pianist and from 1951 to 1997 ran the Chamber Music Society of Baltimore producing 5 concerts a year and commissioning new works by contemporary American composers.