With the skills they taught her, she embarked on a long and successful career during which she employed traditional techniques to achieve results that drew consistent critical praise.

[8] Weber's early commitment to domestic animals as subjects of her art can be seen in her decision to train as a veterinarian while studying in Munich.

[10] In February 1914, Weber attracted critics' attention with paintings of dogs and other domestic animals in a group show at the MacDowell Club in New York.

[11][note 2] In April 1914, theSan Francisco Call gave Weber an interview under the headline, "Girl Causes Stir by Remarkable Paintings of Animals".

Other artists in the first group included Robert Henri, George Bellows, and Andrée Ruellan and she showed along with Josephine Paddock, Ernest D. Roth, Alta W. Salisbury, Susan Merrill Ketcham, Anna Milo Upjohn, and Emily Nichols Hatch in the second.

[16] A critic described this print as "an interesting and brilliant study" that was "strong in handling yet distinguished for the delicacy of its line and distribution of light and shade".

[2] In that year, she also showed paintings and etchings in the Los Angeles Museum of Science and Art in an exhibition that coincided with the 1932 Summer Olympics.

[10] Over the next few years, Weber's prints appeared in solo and group exhibitions at the National Academy of Design in New York (1932); the Brooklyn Museum (1932); the Academy of Arts Gallery in Richmond, Virginia (1933); the gallery of the Junior League Club in Washington, D.C. (1935); the Library of Congress (1935); and the National Arts Club in New York (1935).

[4][18][20][21][22] During the 1930s and 1940s, she also participated in the annual exhibitions of the Water Color Club of Washington, D.C.[3][23][24][25][26][27][28][29][30] In 1940, a critic praised a watercolor called "The Tandem".

Noting that Weber was best known for her etchings, the critic said that in this painting, "she gives the impression of motion and indicates unmistakably the easy slip of muscles under animal skin, as well as the intelligence of creatures trained to action".

[27] A critic singled out a drypoint called "Polo" in the 1948 exhibition, saying the print showed "considerable action with an economy of line".

In April 1937, Weber's drypoint, "Racing II" (1936), was awarded top prize at the Philadelphia Print Club's annual exhibition.

A critic for The Philadelphia Inquirer, praised the print's composition and noted that it showed the racing dogs it depicted as "very lively, motionful, muscular creatures, bending every ounce of their energy toward the goal".

To better understand the subjects I wished to portray, I went into the brewery stables to study the huge Percheron horses that are so famous abroad.

He had been born in Mannheim, Germany, studied under Pyotr Ilyich Tchaikovsky and Anton Rubinstein at the Leipzig Conservatory of Music, and performed in an orchestra directed by Johannes Brahms.