The drawing was favourably discussed in the French edition of the New York Herald, but not by one The Sydney Morning Herald reviewer, who complained that "the drawing and colour are eccentric, after the post-impressionist manner" and described the central figure as "grotesque in its want of finish". The Herald's reviewer was at odds with prevailing sentiment. Her success was widely reported in Australian papers such as Hobart's Mercury, Melbourne's Argus and Adelaide's Register. In addition to displaying the results of her trip at the Salon, she was invited to exhibit in 1913 and 1914 at the Société des Peintres Orientalistes Français, also in Paris. Rix was made a member of the society. In November 1912, there was a solo exhibition at a private gallery, Galerie J Chaine and Simonson. Her work was illustrated in the Notre Gazette, reflecting her emerging status as a significant artist, and the French press reported her exhibitions. She returned to Tangier again in early 1914, this time with her sister Elsie, who also drew and wrote but whose main purpose was to provide her sister with company, assistance and protection from curious onlookers while she painted. Rix painted regularly at the soko, where she would both attract much attention and sometimes disrupt the flow of traffic as she sketched. The sisters returned to England and then to France, where Rix again spent the summer at Étaples, until the outbreak of World War I resulted in evacuation to London in August. Disaster 1914–18 Her retreat to London began a tragic period in her life. Rix's mother Elizabeth had been unwell, and deteriorated during the crossing from France to England. Elizabeth was brought to hospital when they landed; though she partially recovered and was moved to a nursing home, her other daughter, Elsie, fell ill with typhoid. Rix moved between her two ailing family members until, on 2 September 1914, Elsie died. For three months she withheld the news from her mother, fearing it would harm her already fragile condition. Elizabeth survived the news, but as the war continued, Rix's artistic output dwindled almost to nothing. Then in March 1916, Elizabeth died. Rix was just over thirty years old, and all her immediate relatives were now dead. Recalling the experience, she later wrote: "I could scarcely put one foot in front of the other and walked like an old thing". Further misfortune arrived when in France,