In 1892, Fuller travelled to the Cape of Good Hope "to convalesce", although from what illness or injury, her biographer Joan Kerr does not say. Two years later, she travelled on to England and France,
where she remained for a decade. In the 1890s, Australian artists studying abroad favoured Paris over London, and Fuller was no exception. Fuller studied first at the Académie Julian, where her teachers included
William-Adolphe Bouguereau, and later, Raphaël Collin, one of whose studios she managed for a time. Many of the French art schools had only recently opened their doors to women, and those at Académie Julian experienced
poor, overcrowded conditions and contempt from the (mostly male) teachers. Despite this, Fuller's skills developed, and contemporary critics commented favourably on the influence of the French training.
During her time in Europe, Fuller had great success. After a pastel portrait of hers was accepted for the Paris Salon in 1895, two of her paintings were shown there in 1896. That was followed by another, La Glaneuse,
in 1897, in which year she also had a work accepted by the Royal Academy in London. She exhibited in many other locations: the Royal Institute of Oil Painters and Manchester Art Gallery in England, as well as the
Victorian Artists Society and the New South Wales Society of Artists, and at the Melbourne studio of Jane Sutherland. There was even a painting, Landscape, hung in the exhibition for the fiftieth anniversary of
the founding of Bendigo. Not all her time was spent in Europe, however; in 1899 she returned to South Africa to paint Cecil Rhodes. One source suggests that she ultimately prepared five portraits of the founder
of Rhodesia. A later newspaper report stated that Fuller also travelled and made sketches in Wales, Ireland, and Italy.
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