late 19th century. About 1882 reproductions of her paintings became popular and printers sought out Brownscombe for her paintings, which were well-made but also became "stilted and repetitious". In Love's Young Dream, Brownscombe depicts a mother looking on with fond interest at a woman whose attention is transfixed towards an approaching man on horseback, her father intent on his reading. "Brownscombe contrasts the right-hand side of the picture, where all three figures have been placed, with the left, where an unencumbered view of the landscape stretches back to mist-shrouded hills." Washington Post art critic Paul Richard commented that the 1887 painting of a young woman, with childhood behind her, yearns for making a home with a man, rather than a career. He said, "It is not easy to imagine – harem scenes aside – a less liberated picture." Colonial Revival Brownscombe was among a group of artists of the Colonial Revival Movement that admired colonial heroes like George Washington and colonial history, inspired by the 1876 centennial. Other artists included Howard Pyle, Jean Leon Gerome Ferris, Henry Alexander Ogden, Edward Percy Moran and John Ward Dunsmore. Their works, inspired by earlier artwork and George Washington biographies, were publicized in color in books, magazines, calendars and other commercial products, utilizing contemporary advances in lithographic printing. Many were also sold into private collections. She was also becoming more aware of the colonial roots of her mother's family. Of the paintings she made of historic figures, she made 20 or more paintings of George Washington, some of which were reproduced by Gerlach Barklow Company, including the Marriage of George and Martha Washington and The First Meeting of Colonel Washington and Mrs. Curtis, which were purchased from Brownscombe in 1919 and 1920. She made paintings of other colonial scenes in the 1890s; Between 1895 and 1897 she made The Peace Ball which depicted Washington introducing his mother to Gilbert du Motier, Marquis de Lafayette and Jean-Baptiste Donatien de Vimeur, comte de Rochambeau. She painted scenes of Dolley Madison hosting a ball, the Liberty Bell being rung by a man, and Betsy Ross sewing the American flag. The First Thanksgiving,1914, depicts the historic event when colonialists and Native Americans, led by Massasoit, gathered in 1621 to celebrate the bounty of their first harvest in accordance with an English tradition. That 1914 Thanksgiving painting has a few historical inaccuracies: the Native Americans are dressed as Plains