Edith committed suicide in Florence in 1921 and her death had a profound effect on Lydis's life and art.

Lydis eventually returned to Buenos Aires due to the political tension of The Cold War and continued to publish art there until her death on April 26, 1970.

During her career she had two prominent artist phases, her first being a darker sadder period where she concentrated on portraying poor people, the old men, the dispossessed, the criminals, and the sick.

She illustrated women in the active-passive heterosexual relationship stereotype by portraying one woman with slightly masculine-looking features.

Her second marriage was short-lived, as she left her husband for an affair with Massimo Bontempelli while in Florence (1925), and then with Joseph Delteil in Paris (1928).

[3] However, already at the end for the 1930s, together with her partner, Erica Marx, she escaped Paris and the ensuing Nazi roundup of Jews.

Mariette Lydis operated a workshop where she trained future artists including Estela Pereda.

[6] Her work was included in the 2019 exhibition City Of Women: Female artists in Vienna from 1900 to 1938 at the Österreichische Galerie Belvedere.

[12] “[Mariette Lydis's art] represents the feminine outlook [and] gives us a facet of truth as seen by feminine eyes...I know of no artist--male or female--who can render the soul--the most elusive of all human concepts--as convincingly as Mariette Lydis.”[13] Lydis drew inspiration from Koran decoration and decorated Korans herself.

[4] Lydis also based some of her works, including Les Criminelles, on prisons and condemned French women.

[10][14] Lydis's first published illustration was in The Cloak of Dreams by Béla Balázs, a compilation of Chinese fairy tales.

[3] Additionally, five illustrated etchings by Lydis can be found in Le Petit Jésus by Joseph Delteil.