Tablou, ulei pe pânză, „Portret Elena Ceaușescu”, semnat Drăgușin în partea dreaptă jos, nedatat. Elena Ceaușescu, stând pe un scaun cu spătar înalt (jilț) într-o rochie elegantă de culoare albă. Comandat și oferit de Ministerul de Interne, 5 ianuarie 1979.

Drăgușin employed thick, textured brushwork—known as impasto—particularly on the face and hands, creating a tactile surface that emphasizes volume and presence. The heavy application contrasts with the smoother rendering of the fabric and background, drawing attention to her features. The palette is restrained, dominated by white, dark red, and muted tones, enhancing the portrait’s formal tone while the impasto adds a sense of physical weight to the figure.

Commissioned by the Ministry of Internal Affairs and delivered on January 5, 1979, the painting was part of a state-driven effort to cultivate the public image of the Ceaușescu family. Its origin as an official gift suggests institutional control over visual representation. No record of its post-1989 disposition is publicly documented, and its current location remains unconfirmed.

Created during the height of Nicolae and Elena Ceaușescu’s rule, the portrait reflects the regime’s emphasis on cultivating a cult of personality through controlled imagery. Official commissions like this one replaced private patronage with state-directed art, prioritizing symbolism over individual expression. The choice of a white dress and solemn posture aligned with state-approved ideals of feminine virtue and leadership.

The portrait remains a documented artifact of Romania’s communist-era visual propaganda, illustrating how portraiture served political ends. Drăgușin’s technique, while technically competent, is not widely studied outside its historical context. The work’s significance lies less in artistic innovation than in its role as a state-sanctioned image, now preserved as a historical record rather than an aesthetic achievement.