As new artistic movements such as Pop art and Minimalism became popular, De Niro remained committed to his personal style. Despite his imposed remove from many of the Abstract Expressionists, he did depend on occasional financial support from his fellow artists, such as de Kooning. By the 1950's, De Niro had established what would be his definitive artistic style for the remainder of his career: modern painterly representation.ĭe Niro began exhibiting regularly alongside other Abstract Expressionists such as Willem de Kooning, Jackson Pollock, and Franz Kline, and received positive critical support from writers such as Frank O'Hara, who in Art News called De Niro "one of the most original and powerful younger painters showing today." Yet, De Niro did not sell enough of his art to take up painting full time. In fact, he disparaged his peers' desire for a fully unconscious creation of art. Despite his paintings' spontaneous, fluid quality, De Niro made numerous studies and drawings to carefully establish the composition before creating the final product. Feeling closest to European artists, rather than his Abstract Expressionist peers, De Niro pursued his own, singular direction, becoming somewhat of an outsider within the New York School community. Though he drew from the gestural abstraction of his New York School peers, he felt more strongly influenced by the color palette and motifs of French Fauvism and the Old Masters. Clement Greenberg was among the critics who strongly praised his work, writing, "he originality and force of his temperament demonstrate themselves under an iron control of the plastic elements such as is rarely seen in our time outside the painting of the oldest surviving members of the School of Paris." De Niro's paintings during this period were abstract, but maintained figural references. In 1946, at only 24 years old, De Niro had his first one-man show at Peggy Guggenheim's Art of This Century Gallery, a major exhibition space at the time. The director Hilla Von Rebay became a financial supporter of his work. During this time, while De Niro and Admiral were part of New York's literary and artistic bohemian circles, De Niro worked as a guard in the Museum of Non-Objective Art, which would later become the Guggenheim Museum. However, two years later, De Niro and Admiral separated. Hofmann, who considered De Niro one of his greatest students, became his son's godfather. The two were married in 1942, and their son Robert De Niro, Jr., the award-winning actor, was born in 1943. ![]() While there, De Niro met painter Virginia Admiral. For the next several years, De Niro studied with Hofmann in both New York and Provincetown, later working at Hofmann's school. In 1941, De Niro left Black Mountain for Hofmann's school in New York, feeling a stronger connection to Hofmann's style of creating abstract movement through color. De Niro, however, disliked Albers' strict theories of color. In 1939, De Niro spent a summer studying with legendary painter and teacher Hans Hofmann before spending two years on full scholarship at the avant-garde Black Mountain College in North Carolina, studying with Josef Albers.
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