a number of other Australian artists including Hilda Rix Nicholas, Rupert Bunny, James Peter Quinn, Edward Officer, and others who took an interest in the Australians' work, such as Frenchman Jules Adler. In the late 1890s Rae exhibited regularly at the Royal Society of British Artists and the then Society of Oil Painters. Her works were sometimes of everyday scenes: she won third prize in her graduating year with a painting "of a Chinese hawker displaying his wares to two girls standing at a kitchen door", while two decades later exhibited in Australia a picture of a working-class girl carting water at dusk. While living in Étaples, Rae exhibited regularly at the Paris Salon, with her success reported in the Australian press. She had works hung on many occasions, always in what was referred to as the New Salon, including 1908, 1909, 1910, 1911, 1912, 1913, and 1914. On some of the later occasions, her sister Alison's works were also included. When World War I broke out some Australians, such as Rix Nicholas, fled to England, however Rae stayed and became, along with Jessie Traill, one of only two Australian women artists to portray the war while living in France. When in 1918 Australia first appointed official war artists, sixteen men were chosen; Rae, despite having lived in France for the duration of the conflict, was not included. She nevertheless documented prolifically the experience of the war in her adopted home town, creating over two hundred drawings. Most of these portrayed the Étaples Army Base Camp, "the largest of its kind ever established overseas by the British", which at its zenith housed 100,000, including hospital services for up to 22,000 patients. Most of the drawings are of nocturnal scenes, possibly because during the war Rae and her sister both worked in the Voluntary Aid Detachment, and would have had little spare time during the days. Few of these works were acquired by public galleries, with art historian Sasha Grishin arguing that they were "generally regarded as too intimate, too personal and too feminine to be included". Museum curator Betty Snowden reviewed the collection of World War I drawings. She observed the influence of the post-impressionist movement to which Rae was exposed when first she came to France, and her attention to the regimentation and tensions of camp life. Snowden wrote: In her drawings she uses black outlines filled with flat