During this time, he also exhibited in juried shows alongside fellow Abstract Expressionists Morris Graves, Robert Motherwell, Willem de Kooning and Sam Francis.

In 1953, Neuman was awarded the Fulbright Fellowship and traveled with his wife to Stuttgart, Germany as one of the first artists to visit the country since the end of WWII.

He was also associated with Arnold Glimcher's Pace Gallery, where his sold-out show in 1960, as well as his Grand Prize in the 1961 Boston Arts Festival, were important landmarks in his career.

[10] Throughout these years, Neuman's Brookline studio was next door to that of his friend and fellow artist Albert Alcalay, who also taught at the Carpenter Center.

In 1977, Neuman met gallery director, Mary Susan “Sunne” Savage, and in 1979 they married and welcomed their only child, Christina.

[14] Instead, his body of work is characterized by extended series of paintings that explore a particular motif or symbol and are heavily influenced by events in the artist's own life, in addition to global culture and history.

[16] Neuman's style is additionally distinguished by his uncompromisingly bold color palette that is reminiscent of Klee, Miró, Seurat, Kandinsky and early 20th century German Expressionists.

Neuman explored this theme by experimenting with different medium, such as duco paint and sand on masonite and a new, abstracted subject matter.

This series was catalyzed by his experience studying in a still war- ravaged Germany as a Fulbright Fellow in 1953 under the tutelage of German Expressionist, Willi Baumeister.

[21] Pedazos exhibits "the full bloom of the graphical flair and unfailing liveliness that distinguishes Neuman’s style for the next half century".

[22] Neuman continued to use the symbol of the circle in Space Signs, begun in 1966, by using tin cans, beer bottles, lamp shades and other round objects "to stamp out resplendent orbs of color over pulsating geometric landscapes".

[24] In 1977, August Heckscher, a friend, print maker and commissioner of New York City public parks, commissioned a series of etchings from Neuman to accompany an edition of Sebastian Brandt's Shyp of Fools.

The series is composed of richly evocative mixed media drawings, lithographs, etchings and printing plates that depict meticulously rendered medieval barques and their crews on ill-fated voyages to Paradise.

The Alhambra series "evokes the atmosphere of the exotic landmark and translates the ethereal rays of light that ripple through its halls into cascades of color".

History is hidden in each vividly chromatic landscape where the most prominent symbol is the teepee— each has the skin stripped away, and resembles "…drawings on a cave wall, remnants of a people continually in flight.” Ultimately, the Lame Deer series was meant to bring attention to the plight of the Native Americans.

Meanwhile, the Voyage Series, begun in 1986, saw Neuman exploring the symbolism of knots, often seen in Celtic, Viking and Moorish art, as a metaphor for travelling through life.

[28] Neuman's new works, created during the 1990s to present day, are a visual melting pot of many of his earlier series including Alhambra, Barcelona and Rose Paintings.

To coincide with the landmark retrospective of the same name, in 2018 Keene State College published the catalogue Robert S. Neuman: Impulse and Discipline.

[31] In 1990, Neuman was interviewed by the Smithsonian Institution to record his invaluable insights into the previous half century of American art for posterity.

Since becoming active in the San Francisco Bay Area in the 1950s, Neuman's works have been exhibited in countless major museums and galleries at home and abroad.