[1] Returning briefly to Poland in 1903, he painted works based his Jewish identity and faith, refraining from depicting the persecution and anti-Semitism his family witnessed on the continent and idealising the peaceful and contemplative elements of his religion.

In July 1911, after an artistic epiphany on honeymoon in Concarneau, Brittany, he became influenced by modern French painting, his colour palette and style became post impressionist, and Wolmark jettisoned his early methods in favour of the pioneering 'colourist' path that he followed for the next two decades of his working life.

These characteristics were criticised by the artist and writer Walter Sickert, who wrote: "Mr. Wollmark (sic) presents a curious problem.

Beginning with quite reasonable pictures he has of late years put on a turgid and bombastic method of impasto which entirely defeats the painter's intention.

While Wolmark enjoyed a modest degree of success before the Second World War, and continued to exhibit occasionally in London after it, his reputation fell into decline long before his death in 1961 and was only revived in the 1970s by a new scholarly and critical appreciation of his work.

The Tate Gallery Archives under reference GB 70 TGA 721 hold two complete boxes donated by Wolmarks family which contain a number of letters, papers, artworks, photographs and press cuttings, including his original diary that identifies the purchasers of some of his paintings.