After the war, she spent a year at the Higher Industrial School of Sculpture and Stonemasonry in Hořice, where her teacher was Myslbek's pupil Prof. Jaroslav Plichta.

In 1967 she was invited to join an exhibition of five sculptors at the Václav Špála Gallery (Pacík, Zoubek, Kmentová, Vinopalová, Prachatická) and represented Czechoslovakia at the Sculpture Biennale in Middelheim, Belgium.

She won the competition for a portrait of Jan Masaryk for the entrance hall of the Ministry of Foreign Affairs, but after the Warsaw Pact invasion of Czechoslovakia the bust was never installed.

She avoided psychologising and formal stylisation of portraits, but was aware of the significant relationship between the anatomical structure of the skull and the relief representation of the face, which is an expression of the tension of skin and muscles.

She was inspired by the impressionist modelling of Medardo Rosso and the balance of Charles Despiau's works, which remain faithful to the subject without suppressing artistic imagery.

The works of her mature period were inspired by the expressive modelling of Marino Marini and the abstracted conception of portraiture by Alberto Giacometti, based on sensory perceptions and emotional stirrings.

This circle included the art historian František Matouš, who curated the exhibition of young artists at Umělecká beseda (1957), and his daughter Helena, or the painter Václav Bartovský, one of the founders of UB 12.

Prachatická was always keenly interested in modern and classical music and her friends included some well-known musicians and composers (Pavel Bořkovec, Karel Balling).

Such assignments included the portrait of Ludwig van Beethoven (Hradec nad Moravicí Castle), Karel Hoffmann, Archbishop of Olomouc Antonín Cyril Stojan or Jan Masaryk.