[1] After a brief spell as a staff illustrator and painter in the Municipal Office of Health Care Exhibition, Stuttgart, and at the workshop on graphic art under Paul Hahn Fleischmann, in 1914 he was drafted into military service.
Temporarily, he designed book covers for Deutsche Verlags-Anstalt, and the JB Metzler's Verlagsbuchhandlung, both in Stuttgart.
Through the intercession of his half-sister Louise Lotte Volger, who was employed as Moulageuse at the Cantonal Hospital of Zurich, in 1917 he received a job there.
Since he was now producing abstract painting, he avoided a possible confrontation with the National Socialist regime by moving to France.
At the end of 1944, Adolf Fleischmann returned from his hideout in southern France back in liberated Paris, where he found a completely devastated studio, with only remnants of his paintings, the work of many years.
But with the help of his French friends, he could soon begin his artistic work again, and get involved until his emigration to the U.S. in 1952, participated in exhibitions in Paris.
Under the pressure of a violent anti-German feeling, he signed in the early postwar period works with the pseudonym Richard, his middle name.
At the end of the war and in the early postwar years had a brief first Fleischmann "geometric phase" in the sense of concrete art, which he resigned but was soon in favor of less stringent designs.
In 1950, Fleischmann wrote again to the geometric shape, but less in terms of concrete art, but rather in the context of serial painting.
In 1958, he went on visits back to Europe for almost three months, and in this period also saw the subtle change in the severity of his geometric style in favor of looser lines, stripes and figurations.
There was held the 1966 Adolf Fleischmann-anniversary exhibition at the Württemberg Art Association, which made him famous overnight, and marked his breakthrough in Germany.