Perry returned to America with a newfound inspiration for her work. The following year she demonstrated her renewed enthusiasm for her art by creating a rare urban view for her oeuvre, The State House, Boston (1910). She was a founding member of The Guild of Boston Artists (1914). By 1915, Perry had received yet another bronze medal at the Panama–Pacific International Exposition in San Francisco, California for her portrait, Hildegarde, the daughter of a friend. She painted the portrait in 1916 of Edwin Arlington Robinson, who wrote a biography of her husband for The Dictionary of American Biography. Robinson often visited the Perrys at their Hancock, New Hampshire house. Throughout her career as an artist, Perry was deeply engaged in the artistic communities of whatever town she lived in and actively promoted Impressionism's style. The passage of time did not cause Perry's passions to wane. In 1913, Perry helped to form the ultra-conservative Guild of Boston Artists in order to oppose the art world's avant-garde trends. Perry was dissatisfied by the “modern art" that was taking hold. In 1920 Perry received a commemoration for giving six years of loyal service to the Guild. In 1922, she had her first solo exhibition in New York, which included her landscapes from Japan and Givnerny. A New York Morning Telegrapher review called it "one of the most exciting exhibition given by a woman in this city in years." Final years By 1923 Perry's book of poetry, The Jar of Dreams was published. It included a poem of her appreciation for Japan and New England: The sun breaks forth and now my plum tree smiles, Charming its feathery burden into dew, That all its flowers may drink a health to Spring! For February in Japan beguiles Even my homesick heart from thoughts of you, New England, still icebound and blustering. The same year she became critically ill with diphtheria while her daughter Edith had a complete mental health collapse and was sent to a private mental health institution in Wellesley. Perry spent the next two years in convalescence in Charleston, South Carolina. During this time she found new inspiration for her landscape theme and executed works such as Road from Charleston to Savannah and A Field, Late Afternoon, Charleston, South Carolina. It was also during her time in Charleston that Perry found a new theme for her landscapes, what she referred to as "snowscapes."