She studied painting at the private school of Ivan Trutnev in Vilnius, in Munich with Professor S. Hollosy and K. Roth, in Paris she took lessons with Jacques Emile Blanche and Luci Olivier Merson. She completed her artistic education in Kraków under Professor Józef Siedlecki. Between 1909 and 1913, her works were shown at exhibitions of the Society for the Encouragement of Fine Arts in Warsaw. Romer most often painted portraits of loved ones, figural compositions, studies of children and animals, scenes from the everyday life of peasants, and landscapes of the Tytuvėnai region. She was characterised by her virtuoso painting technique, value painting with subtle colours and delicate handling of light.

During the war, deported with her husband deep into the Soviet Union, she worked in a toy factory. She got out of Russia thanks to Ambassador Tadeusz Romer, her husband's cousin, who took her on an embassy transport to Tehran in 1943. In the Middle East, she earned her living by painting portraits of members of the diplomatic corps, the family of the King of Egypt, and was inspired by the exotic beauty of the natives, Egyptian landscapes and architecture. The painter took part in an exhibition of Polish painters in Tehran in 1943 and in an exhibition in Beirut in 1944.

In 1948, she left for England. She enrolled on a course in painting and printmaking at the Royal Academy of Arts in London, and exhibited her work at the Royal Institute of Oil Painters, the Women's International Art Club, the Royal Institute of Painters in Water Colours, and the Society of Women Artists. In 1951 she emigrated to Canada, where her son lived. She sought opportunities to create and earn a living by painting, but soon realised that she would struggle to find a place among the modern currents of Canadian painting. She painted portraits of famous people, tackled the Canadian landscape, painted in oil and watercolour and drew in pastels. Zofia Romer's talent allowed her to faithfully record reality, events and people.

The painter took part in several group exhibitions organised by Polish artists in Montreal: in 1951 in an exhibition of Slavic art at the University of Montreal, in 1952 in the exhibition "Neo-Canadians" at Hart House in Toronto, in 1956 in an exhibition of the Polish Decorative Club in Montreal. In 1955, she travelled to Washington, D.C., where she had an exhibition of her work at the Franz Bader Gallery. The painter lived in the United States until 1963. She was a member of the American Arts Professional League.

On her return to Canada, in 1971, Zofia Romer took part in an exhibition of fifteen Polish artists, organised by the Ladies' Circle at the St Adalbert's Mission in Montreal. With time, her eyesight began to deteriorate and she could no longer paint. Her works can be found in private collections in Canada, the United States, Great Britain and Poland. Many pre-war works are held by Lithuanian museums in Šiauliai, Kaunas, Vilnius, Telšiai and Kielma. Zofia Romer's works are also held by her family in Canada, Australia, North America, England and Belgium. In 1992, a retrospective exhibition of the artist was prepared in Kaunas and Vilnius, which was shown by the National Museum in Warsaw in 1993.

The work in the catalogue
Zofia Romer, portrait of Wacław Babinski, early 1950s, pastel, signed [Z Romer] at lower right, 53 x 43 cm, private collection of Halina Babinska in Montreal. The brightly lit face of a middle-aged man stands out from a brown background, with his eyes directed towards the viewer. A slight smile, well-defined eyebrows, a grey moustache, hair combed smoothly back. This is a faithful portrait, as evidenced by the comparison with the photograph, which aptly captures Waclaw Babinski's features. The suit is barely scratched, a fragment of a white shirt and tie. An elegant, elderly gentleman, and an important figure in Polish diplomacy between the wars, captured here in private, with no sign of his position in the post-war Canadian Polish community.