Magdalena Rădulescu’s body of work is inspired by Romanian traditions and folklore that include the world of local weddings and village gatherings, circuses, fairs, and everything that represented movement and life in the countryside. Her use of the folkloric inspiration is not in a decorative or picturesque fashion, but rather as a repertoire of architectural shapes. In vibrant compositions, she sought a return to an essential, primordial harmony of the group. A skilled portraitist, Rădulescu captured the faces of many people she encountered during her lifetime. In 1946, she moved to Nice, and in the following period had exhibitions in Paris, Marseille, Aix-en-Provence, London, Lausanne, Rome, Milan and Bucharest. Going further into abstraction, she finds, in the work After Pollock Composition, the common ground of dance with one’s body employed by Jackson Pollock in his canvases. She participated in the Venice Biennale in 1928 and had exhibitions at among others Salon des Independents, Paris, Zak Gallery, Paris, the Romanian Athenaeum, Bucharest, the Royal Palace, Bucharest, La Demarque, Paris, Henri Gaffie Gallery, Marseille, etc.