“She could be a Quaker girl who’s just come in from riding,” Andrew Wyeth said of Maga’s Daughter, his 1966 bust-view portrait of his wife, Betsy James Wyeth. Posed with head turned, her raven hair under a flat Quaker hat, her neck strong and beautiful, she is American elegance personified, the powerful woman behind the beloved artist. People could be daunted by Betsy, but those who knew her say she was shy, fun, stylish, a man’s woman, and totally devoted to Andrew. She was also a devoted maker of environments who restored and adapted historic buildings, oversaw the design of new structures, and had a collecting practice that transformed interior spaces. This exhibition at the Brandywine delves into the story of Chadds Ford’s Brinton’s Mill, a complex composite of 18th-century associations through mid-20th-century eyes. It also looks closely at the creative partnership of Andrew and Betsy through the largely unexhibited holdings of the Wyeth Foundation for American Art as well as many of the original objects used to build her remote and often inaccessible designed environments. —Laura Jacobs