Art dealer and Presser biographer Raymond Tubbs notes even though Presser was meeting and getting to know artists like de Kooning, Pollock, and Rothko, he never formally joined their movement, even though he was one of their group as they “fed off of each other in pushing their work to its limits.” At the forefront of Abstract Expressionism, Presser’s continued emphasis on the human figure nevertheless kept him from becoming a complete abstractionist and a part of the “New York School” of the late 1940s and 1950s.
 



 
Following severe episodes of bipolarity that landed him in St. Vincent’s Hospital in New York, Presser moved back to Paris in 1964.

Although he had
periods of great output, he returned to the safety of what always was present in his work, the Renaissance form, especially the head.


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