Núñez del Prado based many of her sculptures off of the female form as well as taking inspiration from animals and landscapes native to Bolivia.

While these movements like Neo-classicism had a negative effect on sculpture, Bolivia still managed to have three stylistic periods known as Mannerism, Realism, and Hyperrealism.

Due to art being imported from Spain, stylistic movements, such as Baroque, found their way into La Paz and were taught in Lake Titicaca School.

Later, Mestizo Baroque, Neo-classicism and eventually Rococo began influencing the art and architecture of La Paz.

Del Prado first discovered her love of art in her youth while studying sculptural modeling techniques in La Paz.

Some research states that for the next eight years after her graduation, she specialized in artistic anatomy and won a gold medal from Argentina in 1936 and Berlin in 1938.

Shortly after this, in 1948, Del Prado moved back to La Paz, where she continued to make works inspired by the indigenous peoples of South America, as well as the landscape and culture of her homeland.

While in New York, she made nude sculptures that were sixty inches tall and went to the Ettl Studios to learn how to cast.

[9] Along her successful career she met outstanding artists such as Pablo Picasso, Constantin Brâncuși, poets Gabriela Mistral, Alfonsina Storni and Juana de Ibarbourou.

Pedro Querejazu [12](1996) coincides with Herazo Rojas on her race thematic and suggest that her sculptures originated within the movement of ‘native’ realism.

On this later stage she worked with Amazonian tropical woods, bronze, and stones such as granite, andesite, basalt, onyx and marble.

The critic Guillermo Nino de Guzman[14] also refers to her work as ‘genius’ and a constant force of creative energy in regards to her series “Mujeres al Viento”(Página 7, 2014).

In the 1970s Marina Núñez del Prado established her residence and art studio in what would become the house museum [es], located in 300 Ántero Aspillaga Street, right at the center of the El Olivar Forest.

For decades it was a home and studio to Marina Nunez del Prado, and now it has become the Casa Museo and a treasured place of history and talent to those of Bolivia.

The museum is filled with their family environment, works of her father, and the collections of Bolivian Silver, Colonial Art, Contemporary Painting, and Handicrafts.

Its façade is colorful and on the right hand side, it reproduces, on a smaller scale, the front of the famous Palace of the Admiral of the city of Cusco.

The workshop of the sculptor Marina Núñez, located on the second level, has been considered as the heart of the house and the intervention revolves around it.

There exist many personal accounts of neighbors who had watched the museum remain neglected for years and described its importance to their community and art history.

[16] Marina Nunez del Prado died in Lima, Peru on September 9, 1995, where she had spent the last twenty-five years of her life working.

The museum preserves the work of Nunez del Prado as well as contributions made by her sister who was a gifted goldsmith and painter and her father.

Since 1930 her work has impacted and been the source of admiration in countries such as Peru, Argentina, Uruguay, Germany, USA, Brazil, Spain, Italy, France, Cuba and Mexico.