The income from her illustrations and Kewpie merchandise allowed her the freedom to study art in Paris and create what she named her "Sweet Monsters". These were shown in Paris in 1921 and again in New York in 1922.
This is how she described her creative process:
"When the guests were gone I used to draw at night. Now that I had plenty of money I did not illustrate as much but let my hand have free play. I would pull up the big rocking chair under the light and let myself go. I am ashamed to be seen when I suffer or when I toil. In the latter case my consciousness has gone away. I leave my cadaver behind and I am embarrassed like a suicide. Often I would have no plan before beginning. The plan seemed hidden in the hand itself. Then satyr-like heads and half-beastly shapes would appear on the paper and the Idea would loom. Marvelous nights! With the sound of passers in the Square growing few -- perhaps a moon crossing the sky beyond my large high windows and the rustling images of ancestral things surging through my head and projecting themselves upon my paper all wrapped in mesh of endless convolutions. Late in the night I would get out of the "Drunken Sailor" (her rocking chair) and, half drunk myself with visions, lay my drawing or drawings (sometimes there would be several) in the portfolio and stagger off to bed. Another monster had been born.
I seemed to be entranced by the idea of the rise of man from animal origins and was always drawing low slant-browed beings that pointed the road behind us. These beings charmed me. They seemed to have the freshness of leaves, the rugged well-being of the rocks themselves. I made them with great necks curved like a stallion's. We called these drawings "the monsters". Meemie (mother) complained of them. She had a literal eye. I made these drawings in an intricate network of lines with a small brush and India ink. Meemie said she did not like to see the figures "all tied up in a web." I said, "Why make it with a few lines when you can make it with many?" The web of lines took time. And that was the fun of it. Not to conclude -- to go on deliriously sculpturing the form, prolonging the delight. While I drew them, I had ecstatic images of the up-surge of life from the "ancestral slime". This progression seemed to me the epic of epics. People used to wonder how the hand that made the Kewpies could bring forth those monstrous shapes with their mysterious whisperings of natural forces and eons of developing time."
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| O'Neill studying art in Paris circa 1906 |
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| Consciousness |
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| The Red Fauness |
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| Capri 1933 |
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| Fugitive Drawing |
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| Man and His Ancestor |
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| The Lost Cherub |
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| The Lost Cherub Detail |
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| The Lost Cherub Detail |
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| Paris Exhibition Catalog 1921 |
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| New York Exhibition Catalog 1922 |
