Jellett describes her art as having three revolutions inspired by her teachers; the first credited to Walter Sickert, the second to André Lhote, and the third to Albert Gleizes. In 1923, she exhibited two cubist paintings at the Dublin Painters' Exhibition. The response was hostile, with the Irish Times publishing a photograph of one of the paintings and quoting their art critic as saying of them, 'to me they presented an insoluble puzzle'. The following year, she and Evie Hone had their first joint exhibition. A deeply committed Christian, her paintings, though never strictly representational and sometimes completely non-objective, occasionally have religious titles and may, in some respects, resemble icons in tone and even, on occasion, in the palette. In Irish Art, a Concise History, Bruce Arnold writes: "Many of her abstracts are built up from a central 'eye' or 'heart' in arcs of colour, held up and together by the rhythm of line and shape, and given depth and intensity - a sense of abstract perspective - by the basic understanding of light and colour" Jellett was an important figure in Irish art history, both as an early proponent of abstract art and as a champion of the modernist movement. Her painting was often attacked critically but she proved eloquent in defence of her ideas. Along with Evie Hone, Louis le Brocquy, Jack Hanlon, and Norah McGuinness, Jellett co-founded the Irish Exhibition of Living Art in 1944. In her published work "An Approach To Painting" (1942) Jellett stated why she felt artists were necessary for society:"The idea of an artist being a special person, an exotic flower set apart from other people is one of the errors resulting from the industrial revolution, and the fact of artists being pushed out of their lawful position in the life and society of the present day. … Their present enforced isolation from the majority is a very serious situation and I believe it is one of the many causes which has resulted in the present chaos we live in. The art of a nation is one of the ultimate facts by which its spiritual health is judged and appraised by posterity." Her work was an important part of the Active Age project in the Irish Museum of Modern Art (IMMA), which was produced to rewrite the narrative of art and change the canon. Jellett's work was not very well known outside of