The focus of her study in Paris involved the systematic copying of works by three leading masters of impressionism, Courbet, Manet and Renoir.
[5]) After the "Bremer Malerinnen Verein" was dissolved she became a member of the pan-German "Gemeinschaft Deutscher und Oesterreichischer Künstlerinnenvereine aller Kunstgattungen" ("Association of German and Austrian Women Artists for all types of art") which had been set up from Hamburg by Ida Dehmel.
The young but already well-respected gallery-director and critic Emil Waldmann wrote in 1920 of her "masterful confident ability [and] expert hand, able to create a masterpiece from the simplest of themes.... [It] would be easy to place , Manet, Courbet and Renoir ahead of her when it comes to still lifes.
There is an appetite for her subject, a sureness of touch in her appreciation of the light and shade and of the noble physical appeal of the surfaces.
It nevertheless appears that after her move to Dresden in 1925 she never found the widespread appreciation of her work with critics and art-buyers that she had built up in Bremen.
In her home city, the Bremen Kunsthalle permanent collection contains one of her flower still lifes, her painting "Vorstadthäuser" ("Suburban Houses") and several watercolors.
The Focke Museum holds a number of her pictures including two portraits, both dating from around 1910, of "Adele Wolde" and "Malvina Elisabeth Schütte", along with her "Straße in Vegesack", a late and slightly unrepresentative oil painting which comes across as a rather academic and precise work, emplpying light impasto shades.