Susan Watkins had established herself as a formidable force in the highest circles of Western art across both sides of the Atlantic Ocean. Her paintings were exhibited in prestigious Paris galleries and received critical acclaim in New York publications by 1913, the same year she tragically passed away at the young age of 38 in Norfolk, Virginia. When she died, her husband inherited a substantial collection of her unsold artwork that had been stored in their home on South Duke Street, and he later donated this entire body of work to the local museum.

Today, the Chrysler Museum of Art houses the world's largest collection of works by American artist Susan Watkins. Many of these remarkable paintings are currently on public display as part of a comprehensive exhibition titled "Susan Watkins and Women Artists of the Progressive Era," which opened in October and will continue through January 11. The exhibition goes beyond showcasing Watkins' individual artistic talents by presenting her paintings alongside works created by her female contemporaries, effectively highlighting the significant contributions of women artists during the early 20th century.

This historical period was particularly challenging for aspiring female artists, as women often faced discriminatory practices at prestigious art academies. If they weren't completely denied admission, women were frequently charged higher tuition fees than their male counterparts and then restricted to studying only in all-female classes, limiting their educational opportunities and professional networking possibilities.

Susan Watkins was born in 1875 into a prosperous California family and followed a career trajectory that was considered traditional for artists of her era. During her adolescent years, her family relocated to New York City, where her father secured employment as a newspaper editor. This move allowed Susan to enroll at the prestigious Art Students League, one of the most respected art institutions in the country.

When Watkins reached her early twenties, her father passed away, prompting her to make a pivotal decision to move to Paris, which was widely regarded as the capital of the Western art world at that time. In France, she pursued advanced studies at elite fine art academies, including the renowned Académie Julian and the Académie Viti. By 1899, she had begun exhibiting her paintings at premier European and American art venues, marking the beginning of her international recognition.

Her artistic achievements were substantial and widely recognized throughout the art community. Watkins' paintings were featured in exhibitions at the prestigious Paris Salon, the National Academy of Design in New York, and the Art Institute of Chicago, consistently receiving praise from art critics and journalists. "A lot of critical reviews of these exhibitions would mention her work," explained Corey Piper, "and often mention her as one of the most prominent American women working in Paris."

Piper, who served as the former Brock Curator of American Art at the Chrysler Museum, was responsible for curating this exhibition featuring Watkins' work before recently accepting a new position in Richmond at the Virginia Museum of History & Culture. According to Piper's expert analysis, Watkins' artistic style was "very much rooted in an academic tradition of realism and naturalistic depiction of the world and figures within space."

By the time Watkins decided to leave Europe and return to America, she had successfully established herself as a sought-after portrait painter, regularly accepting commissions from wealthy clients. Her personal life took a significant turn when she married Norfolk banker Goldsborough Serpell. However, tragedy struck when she died less than two years after their wedding, cutting short what promised to be an even more illustrious artistic career.

The current exhibition is thoughtfully organized into five distinct thematic sections, each exploring different aspects of women's experiences in the art world during the Progressive Era. "Academic Pursuits" examines the crucial role that art schools and academies played in launching women's artistic careers despite institutional barriers. "American Artists on an International Stage" highlights the various strategies that female artists employed to gain recognition and credibility in a male-dominated field.

The "Interiority and the Psychology of Spaces" section focuses on how domestic environments served as important sites of creativity for women artists. "Portraits and Artistic Networks" demonstrates how portraiture became a vital means of professional advancement and social connection for female artists. Finally, "An Artist Abroad" showcases Watkins' impressive paintings of European landscapes and urban scenes, illustrating her versatility and international perspective.

The comprehensive exhibition features approximately 75 works by Susan Watkins alongside pieces by 19 other accomplished women artists from the same historical period. This curatorial approach provides visitors with a broader understanding of the challenges and achievements of women in the art world during the early 1900s, while celebrating Watkins' specific contributions to American art history.

Visitors can experience this remarkable exhibition at the Chrysler Museum of Art, located at One Memorial Place in Norfolk. The museum is open Tuesday through Saturday from 10 a.m. to 5 p.m., and Sunday from noon to 5 p.m. Admission to view the exhibition is free, making this important cultural experience accessible to all members of the community through September 1.