[3] Codesido traveled to Europe with her family at age of seventeen, where she visited Switzerland, Spain, England and France;[2] the last two due to the appointment of her father as consul of Peru.
[5] Upon entering the National School of Fine Arts (ENBA), Julia Codesido formed a quintet with Teresa Carvallo, Elena Izcue (painting), Carmen Saco (sculpture) and Beatriz Neumann (artistic photography) who became the representatives of the artistic outbreak of the first women to join and who would be part of the nascent National School of Fine Arts (ENBA).
[3] In the 1920s, Codesido was one of the leading representatives of indigenous painting and one of the very few women enrolled in the National Superior Autonomous School of Fine Arts of Peru.
[13] Codesido returned to Paris in 1953 where she exhibited, at the "Petit Palais", together with the Bolivian artist Marina Núñez del Prado and the Brazilian sculptor Irene Arnau.
[10] Codesido's expressionist style, her use of both color and design, along with the strong influence of Peruvian indigenous culture in her works contributed to her standing out amongst fellow artists.
Codesido's research and interest in the indigenous culture of Peru within her art took a modern approach in later years as she moved towards abstraction.
[5] The arrival of José Sabogal to the School of Fine Arts in 1920, influenced her style and, by 1925, the authors indicate the beginning of her second Peruvian stage called "indigenista".