Her fellow student was Margit Kovács,[2] the well known Hungarian ceramic artist, with whom she had a lifelong, close friendship.
During this time she visited excavations from the Roman period in the south of France, and traveled to Italy, Germany, Switzerland, and Belgium.
She lived as a member of the Hungarian colony, formed by Endre Rozsda, Brassaï, and André Kertész.
Báthory was a member of the Salon d'Automne, formed by Matisse and the fauvists, where famous French glass designers Maurice Marinot and René Lalique also exhibited.
In 1934, she converted an old dairy hall near the Sorbonne (7bis Rue Laromiguiere, Paris Ve) into her own atelier (or workshop), Studio La Girouette.
In 1937, the city of Paris bought her plaquette called The Hunting (La Chasse) and an engraved vase.
She produced engraved and cut figural panneau that covered columns for the Zürich exhibition hall of the Goldberger Textil Company.
After the war ended she was frequently robbed, and a great number of irreplaceable documents, machines, and works of art disappeared.
Years later in 1953, she had the opportunity to enact her educational system at the Secondary School of Fine and Applied Arts.
Students learn how to work with hot glass, use drawing-derived techniques, and are exposed to the whole range of glass-work.
This method greatly influenced the education of glass-art, and also changed the whole structure of secondary art-education in Hungary.
Júlia Báthory's artistic resurrection was brought about in 1989 with the change of the Hungarian political and economical system.
The 88-year-old artist set up her studio again with the help of her adopted son, András Szilágyi, and her daughter-in-law, Júlia Kovács.
In 1991, she received the Golden Wreath-ornamented Star-order of the Hungarian Republic, and became full member of the Széchenyi István Academy of Literature and Art.