The Société not only hung many of her paintings and drawings: she was elected an Associate to the organisation in that year. At the end of 1926, Rix Nicholas and Dorothy Richmond returned together to Australia. Energised by her success, Rix Nicholas purchased a car, filled its rear compartment with painting equipment, and the pair set out to paint the landscape, ranging from Canberra and the Monaro plains to the south, up into central Queensland. During a publicity-attracting occasion, she painted figures on the beach at Bondi, which was reported by various publications including Australian magazine, The Home. Wright and Knockalong, 1928–61 Rix Nicholas had met the farming family, the Wrights, in the early 1920s, including Ned, the subject of In Australia. After returning to the district, she married Edgar Wright on 2 June 1928 in Melbourne, and the couple settled on a property called Knockalong, near Delegate, in the Snowy Mountains. She continued to exhibit under the name Rix Nicholas. Her friend Dorothy Richmond, with whom she had visited the region at the start of the decade, married Edgar Wright's cousin, Walter, and settled in the same region. Then, in 1930, Rix Nicholas and her husband had their only child, a son, whom they named Rix. Characterising the modernist moment in Australian art – the period between the wars – is complex, as is understanding the position of individual artists within it. In France and North Africa in the 1910s, Rix Nicholas drew directly on impressionist ideas and techniques. In the 1920s, she had entertained Roy de Maistre, one of the first Australians to experiment with synchromism, and enthusiastically asked him to share more about his 'colour-music theory'. However, as she moved from urban to rural Australia, she did not continue to respond to radical modernist ideas. On one view, this represented a rejection of modernist themes and trends. Alternatively it can be read as Rix Nicholas's conscious decision to maintain her own creative direction. As Petersen put it, "Rix Nicholas did not identify as a woman artist or as a modernist but simply as an artist working outside any movement or style" who "remained disinterested in the debates in Sydney over modern art trends". There was in any case, as art historian Jeanette Hoorn wryly observed, "no market for post-impressionist painting in outback New South Wales in the 1920s". Rix Nicholas sought to build on her existing success