these paintings, seen in the paintings Tritons (circa 1890) and The Descent From the Cross (circa 1898). The paintings showed an amalgamation of his traditional training, through the technicality, with the more experimental style of the Europeans at the time, seen in the sensibility. Meeting his wife, Jeanne Heloise Morel, in 1895, his style shifted to a Pre-Raphaelite depiction of romantic, indolent female figures. Morel was continually depicted in these paintings, and has been referred to as Bunny's "eternal muse", such as in the works Returning from the garden (1906) and Jeanne (1902). These depictions of angelic women suggested the influence of British Pre-Raphaelites John Everett Millais and Dante Gabriel Rossetti. In 1901 he left the Salon de la Société des Artistes Français for the Société Nationale des Beaux-Arts. This saw a change in Bunny's style. With growing critical and financial success, Bunny began exploring modernity in his works such as In the Luxembourg Gardens (circa 1909). The leisure and languor of the belle-epoque pervaded his paintings, which almost exclusively depicted beautiful women. Bunny married Morel in 1902, and, in both style and sensibility, his works became distinctively more French. Continually adjusting his oeuvre to reflect the changing styles seen in Europe, especially Paris during the early 20th century, Bunny's artistic style changed again. As art critic John McDonald stated, "He was not a painter of timeless masterpieces, but a versatile professional, ever alert to the changing currents of art fashion." Particularly influenced by Matisse and Sergei Diaghilev's Ballet Russes, Bunny's works developed into compositions with "heightened colour and abstracted, rhythmical forms". This is seen in many works including Salomé (circa 1919), Bell Dance (circa 1920) and Fresque (circa 1921). His painting The Rape of Persephone (circa 1913) was described by artist and critic George Bell as "a glorious riot of colour from the finest imaginative Australia has produced". Towards the 1920s, Bunny revisited mythology as his subject, this time in a modernist style. In the late 1920s, Bunny painted many landscapes, including Waterfront, Bandol (1929) and Cemetery, South of France (1920s). Music was a significant influence over Bunny's art. His mother was a "talented" piano player, and friend of Clara Schumann and Bunny has been described as an "exceptional" piano player himself. In his career, he painted many portraits of notable musicians, including Nellie Melba, Percy Grainger and Ada Crossley. He also produced works such as Nocturne [The Distant