After Romer's death in 1872, she married Vanity Fair artist Joseph Middleton Jopling in 1874, who was best man at Whistler's wedding to Beatrix Godwin.

[7] Jopling exhibited her work at the Palace of Fine Arts and The Woman's Building at the 1893 World's Columbian Exposition in Chicago, Illinois.

It is said that, "She found this responsibility weighty and stressful, necessitating constant production, regular sales and a continual search for commissions and clients.

"[11] Jopling "painted portraits of titled sitters, wealthy financiers and actresses" and, to operate in this social milieu, she maintained a fashionable lifestyle, with a Chelsea studio at 28 Beaufort Street, designed by William Burges.

[12][13] She moved in a social circle that included James McNeill Whistler, Oscar Wilde, Kate Perugini (née Dickens) and Ellen Terry.

One week we see her salon drawn by Mr. Du Maurier in Punch, with sketches from the life of herself and her friends; the week after she appears under another name as the heroine of one of those quasi-malicious town and country tales which amuse the readers of a society paper… Over the mantelpiece hangs the portrait, by her old friend Sir John Millais, which made such a sensation at the Grosvenor a year or two ago…Here Mr. James Whistler and Mr. Oscar Wilde are always to be found, discussing the eternal problems of art; while Sir John Millais, Mr. Sargent and Mr. George Boughton are sworn allies of the subject of our sketch.

Like some other women painters (Kate Perugini and Marie Spartali Stillman are examples), Jopling also served as a model and subject for other artists.