[2] Emanuel died of cancer in 1915, and the following year Carrick began two decades of travels that took her through the Middle East, South Asia including India, and Europe.

[3] Carrick began as an Impressionist plein air painter but fairly quickly moved to a more Post-Impressionist style featuring blockier compositions and sharper colour contrasts.

[2] She exhibited at the Paris Salon d'Automne from 1906 onwards, the London Royal Academy of Arts, the Société Nationale des Beaux-Arts (from 1906 on), and various progressive galleries in Melbourne and Sydney, Australia (from 1908 on).

[3] In 1911, she became sociétaire of the Salon d'Automne, and she served as a jury member from 1912 to around 1925, both unusual positions for women to hold and marks of the high regard in which she was held by the Paris art world.

[3] In her lifetime, Carrick's reputation was eclipsed by her husband's, in part because she spent a good deal of her time promoting his career rather than her own, lobbying Australian collectors and curators to buy his work and arranging exhibitions both while he was alive and posthumously.

[3][7] In 1996, one of her paintings set an auction record of A$105,500 for works by an Australian woman artist,[7] and the following year saw the publication of a biography, Ethel Carrick Fox: Travels and Triumphs of a Post-Impressionist by art historian Susanna de Vries.

A publication was released alongside the exhibition including essays on Carrick by Rebecca Blake, Angela Goddard, Emma Kindred, Jenny McFarlane, Denise Mimmocchi, and Juliette Peers.