Júlio Pomar has explored both painting and writing to express his ideas. He enrolled at the Escola de Belas Artes Lisboa (Lisbon School of Fine Arts) in 1942 and transferred to the Porto Escola de Belas Artes (Porto School of Fine Arts) in 1944. Inspired by the Brazilian painter Cândido Portinari (1903–1962) and the Mexican muralists Diego Rivera (1886–1957), David Siqueiros (1896–1964), and José Clemente Orozco (1883–1949), Pomar adopted neo-realism to express his anti-fascist beliefs. His activism against the Salazar-regime resulted in his expulsion from art school in 1946. After that, Pomar began to write for art and literature magazines and in 1947 held his first solo show at the Galeria Portugália in Porto. In 1950 Pomar studied the work of Francisco Goya in Spain, which greatly influenced his later works, such as Maria da Fonte (1947). In Portugal during the early 1950s he experimented with watercolor, gouache, ceramics, and printmaking, and painted portraits of many intellectuals. In 1956 he founded the cooperative Gravura. After moving to Paris in 1963, Pomar began to use acrylics for his colorful Neoexpressionist paintings and collages, with gestural brushstrokes, dynamic compositions and saturated colors. He created his first found-object assemblages in 1967.