Copie după C. Baba

Hrib employed parallel hatching—repeated, unidirectional strokes—to model volume and shadow. The density of lines varies across the face, creating subtle tonal shifts without blending or smudging. The method is economical and direct, emphasizing line over tone, and reflects a draftsperson’s focus on observation rather than finish.

The work entered the Museum of Ethnography’s collection in the latter half of the 20th century, likely through donation or institutional acquisition.

The work entered the Museum of Ethnography’s collection in the latter half of the 20th century, likely through donation or institutional acquisition. Its condition—worn paper, torn edges—suggests it was handled frequently, possibly used in teaching or as a reference. No earlier ownership records are documented, but its status as a copy implies it was made within an artistic circle familiar with Baba’s work.

In postwar Romania, artists often studied established figures like C. Baba as part of formal training. Hrib’s sketch fits within this pedagogical tradition, where copying served as a means to internalize technique. The drawing’s informal nature aligns with classroom or studio exercises common among students and emerging artists during this period.

Though not a finished work, the drawing preserves a moment of artistic transmission—Hrib’s engagement with Baba’s visual language. It stands as evidence of how influence operated through direct, hands-on study. Its preservation in a museum underscores the value placed on such preparatory works as records of artistic development.