[3] Following Augusta's death, Robert married again, with his dead wife's sister, Federica Guillermina Beltz von Hagen.

[3] Julia also had a half-sister, Berta Wernicke (1871–1962), a feminist writer and teacher who co-founded the Geographical Society of Argentina [es] with Elina González Acha de Correa Morales and others.

[5][6][7][2]: 208 Around 1885, at age 25, Julia Wernicke made her first visit to Europe,[8] and spent four years studying in Munich, Germany with the animal painter Heinrich (Enrique) von Zügel (1850-1941).

It forms part of the archives at the Museo Nacional de Bellas Artes (Buenos Aires), and was exhibited both nationally and internationally.

Wernicke and the artist Catalina Mórtola de Bianchi [es] together explored more varied technical methods: etching, woodcut, aquatint, drypoint, and lithography.

[9][18] On October 20 in 1895, at 35 years of age, Julia Wernicke participated in the third exhibition of the Ateneo, which included 180 works from 71 artists (18 of whom were women).

[19] On May 21, 1897 La Nación reported that Wernicke planned to hold workshops to give young ladies lessons in painting, drawing and portraiture.

With the leadership of Teodelina Alvear de Lezica, fifteen hundred objects were presented to public view in the Feminist Exhibition, including embroidery, lace-making, weaving, furniture, and painting on a variety of media.

[22][23] Wernicke was one of only two women artists, of those who participated in exhibits at the Ateneo, whose works were included in the collection of the Museo Nacional de Bellas Artes (MNBA).

[8][2]: 154 From its acquisition until the painting was retired to be guarded in the museum's depository (around 1950), Toros occupied a preeminent place with the other works of art now considered to be of national significance.

[9] Nonetheless, Wernicke's work was chosen by Schiaffino as one of those to represent Argentina at the international Saint Louis Exposition of 1904, on loan from the National Museum of Fine Arts.

[27][22][23] Baedeker's review of Bulls is generally complimentary but also exposes highly gendered views of women artists,[28] who were expected to be introspective, delicate and subtle.

Nobody would think that this beautiful study, solid and energetic, is the work of a woman; the appearance of the hair of the animals is very exact, but it is not the same with the back ground of the picture, which is negligent and conventional, the tones are worthy of a master.-Baedeker of the Argentine Republic, 1914[28]Again in 1909, Wernicke held a solo exhibition, this time at the Galería Witcomb.

Correa Morales influenced the museum for many years as a painter, donor, and director, and included the works of herself, Julia Wernicke and other women artists in exhibits and in catalogs.

[9][34] Georgina Gluzman discusses changing attitudes to women artists in the fin-de-siècle period in Argentina and the ways in which female participation in the arts was connected to ideas of modernity and progress.

She also examines the effect that systemic processes of obliteration have had on Wernicke and other Argentine women artists such as Eugenia Belin Sarmiento.

[35][2] Gluzman is curating a 2019 exhibition focusing on works by women artists in the Fine Arts museum's reserve collections, including Wernicke's Toros.