Her early paintings, dating from the late 1930s, established her as a leading figure in the Icelandic avant-garde community (many of whom met together in a house in Reykjavík called Unuhús).
[citation needed] Her move to New York City in 1942 was followed by a period of study under Hans Hofmann, along with other painters including Robert De Niro, Sr. (father of the actor) and Jane Freilicher.
Louisa, Bell, and Temma visited Paris in 1951–52 where they frequently met with Hélion, who introduced them to Alberto Giacometti and Balthus.
[7] The paintings of Louisa's final three decades include Icelandic landscapes, a series of self-portraits, and tabletop still-life arrangements.
She was to remain an Icelandic citizen all her life, the physical characteristics of her native land informing her bold treatment of form and clarity of light.