To that end, Weber continued to develop new techniques and painting processes, which included the use of mixed media, pigments, and bright, vibrant colors on various canvasses and placement boards.
While intrigued by the creative expression of the abstract painters he encountered in New York, he was drawn to the historic monuments of the Mayas and the Aztecs and began traveling to Mexico regularly.
It was this combination of experiences - the breadth and spatiality of American abstract painting and Mexico's luminous colors that moved Weber to a radical new start.
Following the completion of his education at Kunstgewerbeschule, Weber relocated to Paris, where he studied sculpture and painting under the guidance of André Lhôte, founder of the Académie d'Art in Montparnasse.
As Weber's work matured the classic influences of Andrea Montegna, Caravaggio, Pierro Della Francesca, and Fra Angelica are evident.
Weber's oeuvre consists of four distinct genres: Late German Expressionism, which reveals his close scrutiny of Max Beckmann, E. L. Kirchner, and Emile Nolde.
Weber's expansive Colorfields reflect his respect for fellow Bay Area artist, Richard Diebenkorn, as well as Helen Frankenthaler, Ad Reinhardt, and Barnett Newman.
At the time of his death, he had perfected a previously undeveloped painting technique and process which allowed brilliant inks and pigment to adhere to translucent vellum.
Le Nouveau Quotidien, Lausanne, Suisse, Laurent Wolf: "Kurt Weber, L'Homme qui va là où est la Peinture".