This painting renders a landscape from Poiana Mărului, the village where a major chapter in Romanian postwar art was written. The Poiana Mărului School was an informal, heterogenous group that came into existence in the 1960s as a result of a few painters' desire to take refuge from the oppressive climate that characterised the Romanian society at the time. The village was isolated from the contemporary world and gave these artists the opportunity to discover themselves within an ancestral environment. The school did not produce a manifesto and there was no single style that defined these works. The only element that the members of the school had in common was their desire to return to the purity of creation and discover a new, untainted plastic language.
Given its rural location, art historian Ion Frunzetti regarded the Poiana Mărului School as "The New Barbizon of young Romanian painting.” However, the works produced at Poiana Mărului do not depict any humans. Though situated in a specific location, these paintings are not ethnographic documents, for they focus on illustrating the universal rather than the particular. As art historian Pavel Șușară has stressed, the landscape is not a motif, but "a visual code, a plastic structure" that the artists play with.
Teodor Rusu was one of the main members of the “Poiana Mărului” group, where he worked frequently between the late 1950s and 2005. The importance of his oeuvre has been confirmed by the major retrospective held at the Brașov Art Museum in 2005.
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