Another kind of symbolic escape is found in the realm of fine sensations, of correspondences. The theme of music often appears in Bednarik's work, for example "Young Girl Playing the Violin" (1915), "At the Piano" (1922) and "Playing the Violin" (1922). Bednarik often associates music with flowers which decorate the interior where the former is being produced; at times they are so faintly sketched on the canvas as to be almost invisible (another symbolist trait). Flowers are often present in portraits of children ("Mother's Birthday") and almost always in paintings of female figures (a favourite association of Art Nouveau artists), for example in "Portrait of the Artist's Wife" (1919), "Portrait of a Young Girl" (1925), or "Portrait of Miss J.P." (1924). They are also seen in his interiors with nudes painted in 1921. The flower symbolism is enhanced by the choice of the blossom which accompanies the female figure. Mastering the delicate transparency of watercolour, Bednarik surrounds his sitters sometimes with lilies, but more often with roses or peonies. In his next period, from 1919 to 1928, the still life with flowers became one of his favourite subjects.