Hans Hofmann instructed many of the abstract expressionists. His teaching style allowed students such as Fritz Bultman to learn as much from him as they did from each other. Hofmann encouraged Fritz Bultman to reach abstraction and non-objective art through practice. Despite everything that Hofmann taught Fritz Bultman, their work does not look overtly similar. This phenomenon can be explained simply that Fritz Bultman had a natural affinity for creating art. Hofmann did augment the understanding of color, line, and combining dynamic shapes in Fritz Bultman.

Fritz Bultman worked in a diverse array of mediums including painting, sculpture, collage, and drawing. While Fritz Bultman explored concepts in a wide variety of mediums, he managed to keep a continuous style throughout his works. The style of Fritz Bultman developed slowly and organically.

In his early work, the Acteon myth captivated Fritz Bultman. In this myth the hunter Acteon saw the goddess Diana naked, and she punished him by turning him into a deer and hunting him. The myth resonated with Fritz Bultman in many ways. Fritz Bultman saw it as a metaphor for the risk inherent in an artist looking for superficial attractiveness. Fritz Bultman also saw in it the reversal of sexual parts when power is lost. While these works are still abstract, the meaning behind the myth inspired Fritz Bultman to create dramatic forms.

In May 1950, a group of New York School of Abstract Expressionist painters wrote a letter to The Metropolitan Museum of Art protesting its anti-abstract bias in the selection of painters for the exhibit “American Painting Today 1950.” The letter appeared in the New York Times and the Herald Tribune. A photo of the group taken on November 24, 1950 appeared in Life magazine’s January 15, 1951 issue, captioned “Irascible Group of Advanced Artists Led Fight Against Show.”

As a member of the New York School of Abstract Expressionists, Fritz Bultman signed the historical and infamous “Irascibles” letter along with William Baziotes, James Brooks, Willem de Kooning, Jimmy Ernst, Adolph Gottlieb, Robert Motherwell, Barnett Newman, Jackson Pollock, Richard Pousette-Dart, Ad Reinhardt, Mark Rothko, Theodoros Stamos, Hedda Sterne, Clyfford Still and Bradley Walker Tomlin. Missing from the famous Life magazine photo known as “The Irascibles” were Fritz Bultman, Hans Hofmann and Weldon Kees. Unfortunately, Fritz Butman was out of the country at the time this photo was taken because the Italian government had invited the artist to study sculpture. The career of Fritz Bultman was directly affected by this experience as every other member of the group went onto great fame.

In the 1940s, Fritz Bultman enjoyed using the color red as it reminded him of visceral and zealous subjects. In the early 60s, Fritz Bultman began incorporating the color blue because of its ability to simulate atmosphere. Religion was extremely important to Fritz Bultman throughout his life. Fritz Bultman enjoyed using “universal symbols” like the cross in his works, especially sculpture. In the mid-60s, Fritz Bultman experienced a life threatening illness. This lead Fritz Bultman to explore shapes in all mediums simultaneously.