Along with Olga Boznańska and Tamara de Lempicka, she was one of the best-known Polish women artists of the interwar period.

In the 1930s she was nominated for the prestigious Golden Laurel of the Polish Academy of Literature, but declined the offer.

In 1910 she joined her father on a trip to Italy via Austria-Hungary, during which they visited galleries and museums in Vienna and Venice.

She used the name of her brother, Tadeusz Grzymała Lubański and dressed like a boy because at the time, the academy did not accept women.

Her first artistic success came in 1912, when the Kraków Society of Friends of Fine Art included 18 of her watercolour illustrations of Polish Fables in its exhibition.

In May 1913, Jerzy Warchałowski, art critic of the Polish magazine "Time", discussed Sophia Lubański extensively, making her well known and launching her career.

At that time, the family moved to bohemian Kraków, where she met Zelenski, Zdzisław Jachimecki, Puszetów and Wojciech Kossak.

They had three children: daughter Magda and twins Jacek and Jan. Stryjeński introduced his wife to his friends, artists and representatives of world literature.

By the end of the 1930s she was connected, also for a short time, with the architect and bon vivant Achilles Brez and then with the traveller and writer Arkady Fiedler.

Only in 1938 did she receive several orders from the Polish Ministry of Foreign Affairs, including one for a kilim for the Emperor of Japan Hirohito.

She may also have been influenced by Young Poland (Młoda Polska), a stylistically diverse art movement active between 1890 and 1918.

Among her best known works are: Pastorałka, Slavic Idols cycle and Passover, as well as illustrations of the poem "Monachomachii" by bishop Krasicki, Seasons, Christmas Carols, Four Polish Dances, and the sacraments.

She made part of the decoration of the Polish pavilion at the Exposition Internationale des Arts Decoratifs et Industriels Modernes in Paris in 1925, a series of six paintings for the twelve months, showing rural village life and seasonal change.

She was raised as a Catholic, but converted for a short time to the Evangelical Church in order to divorce and remarry.

Mieczyslaw Grydzewski nicknamed her "her royal highness, the princess of Polish art" in "Literary News".