A Tennessean by birth, Mary's training in art was long and thorough by the time she joined the staff at Sullins College.  "Added to ten years of experience in teaching, she studied with the best masters at home and abroad."  During the years leading up to her time at Sullins College, Mary lived in New York City where "as a member of a select coterie of well known literary men and artists she has enjoyed the superior advantages for acquiring the best and most modern methods.  With these advantages she [brought] a devotion to her art and a stock of enthusiasm which incite[d] her pupils to their best efforts.

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For twelve months she studied at the Academy of Art in Paris.  Marion Rose, her instructor there, sa[id] of Mrs. Forbes; 'In drawing from life she has had no equal in my classes.'  Under Marshall Fry she [had] just completed a special course in design and decorative work, giving special attention to china painting.  Of her ability, this renowned authority says: 'I consider Mrs. Forbes to be one of my most talented pupils.'  The work of my classes includes landscape composition and painting, as well as the study of design and its relation to handicraft, ceramics, cloth paintings, etc., and Mrs. Forbes' work in all these branches has been most praiseworthy.  Having had the advantage of much study, added to exceptional talent and intellect, as well as an enthusiasm and a gracious personaility, I believe her equipped to achieve success.'

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Under Rhoda Holmes Nichol she had the privilege of studying water color and during the past Spring she was awarded first prize offered for the best water color of the year painted in the Art Student's League.  As a true student of art, she places much emphasis upon drawing from life and yet without neglecting the lighter phases of the work.  William Chase, the great portrait painter with whom Mrs. Forbes has done much study, has recently paid a signal recognition to her talent.  Of this honor Mrs. Forbes writes as follows: 'I prize this, because one seldom ever gets up to that standard in Mr. Chase's estimation.  You will understand what this second honor seal means, in the eyes of students and art critics, when I add that only six pupils of this, America's greatest portrait painter, have ever received first prize during his thirty years of experience.  I shall bring this portrait with me for the benefit of the girls.'

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Realizing that many who have an appreciation of the beautiful and artistic do not always desire to pursue the study of art as a profession, Mrs. Forbes has provided an unusually attractive course in such artistic fads as wood and block carving, modeling, and glass engraving.  These, with the beautiful designs in china which she is offering, will no doubt prove eminently popular with resident and non-resident pupils of the College proper."

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Source:  "Additions to the Faculty"; Sessions 1908-1909, Sullins College Conservatory.

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Under the direction of Mrs. Forbes, Nona obtained a four year degree in Art whereby "students [were given] exceptional opportunities to draw from life, to work in color, and to study sketching, landscape painting, composition, pictorial and costume illustration.  They [were] advanced from one subject to another, according to their proficiency.  Parallel reading on art subjects [was] assigned, and occasional lectures given on interesting subjects."  During the first year, students were taught light and shade drawing; drawing in charcoal from antique, casts, still-life, and line drawing from life as well as freehand perspective and composition.  Freehand perspective was introduced by sketching interior objects, followed by landscape composition and outdoor sketching.  Composition comprised drawings and sketches in india-ink, charcoal and color, to illustrate the principles of composition with emphasis on the arrangement of flowers, figures, landscapes, and interiors, as a preparation for pictorial illustration.

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The second year of study focused on portrait and life drawing as well as water colors and pastel.  Portrait and figure drawing was taught in charcoal and color.  Water colors and pastels emphasized painting from flowers and still-life groups, and landscape sketching.  Additionally, students were taught oil colors and pictorial illustration.  Oil colors were taught from still-life groups, portrait-painting from life as well as landscape.  Pictorial illustration encompassed the technical study of illustration, sketching from the costumed model, with accessories to enhance the pictorial effect.

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During the third year life drawing, portrait and figure painting and pictorial illustration were expounded upon with a critical study of the principles of pictorial composition and their practical application.  The illustration of an event or story[was] perfected, using the costumed model.  In the student's final year, full attention was given to figure painting, portrait painting and pictorial illustration.