The biography and artistic evolution of Vincențiu Grigorescu, the Romanian-born painter naturalized in Italy, one of the reference artists in the field of abstract art both in Italy and Romania, tells a story formed of intertwined layers, similarly to his oeuvre, which has been recently reconsidered in the context of the rediscovery of Italian abstractionism and Arte povera of the ‘70s. Born in Bucharest in 1923 and graduated in Architecture, Grigorescu has shown, since his Romanian period, a major interest in geometric abstraction and in a ‘reductionist’ approach when treating colors, forms and surfaces. A visual imprint which, starting from the still nature series and the first Blacks, which were produced in Romania (from 1964 to 1965), the Black Squares (1967) and the Manuscripts (1968), followed by the first monochromatic cuts, found the maturity of expression after the artist moved to Italy, where he received political asylum in 1972, and where he lived first in Milan and then in Castelnuovo Magra (Liguria), until he passed away, in 2012. The first ‘layer’ of Vincențiu Grigorescu’s personal and artistic destiny was strongly influenced by the post-avangarde background of the Bucharest artistic milieu, where, after the instauration of the communist regime in 1945, the artist soon opposed the dominant trend of the Socialist realism, which saw in abstract art a subversive tool intended to undermine the official ideology. His experiments with whites and blacks, inspired by Malevic’s Suprematist theory, and, in a wider perspective, by the Russian, French, and Netherlands avant-gardes, revealed the dissident message of Grigorescu’s work in the ‘50s and the ‘60s in Romania, and represented at the same time his link with Western art. Just like his canvases, who left themselves progressively conquered by the vibration and energy of the material and of surface, Vincențiu Grigorescu’s evolution in Italy unfolds the layers of a new life, under the decisive influence of Italian abstract art, in contact with Lucio Fontana’s Spatialism and with the objectual conceptualism of the artists grouped around the Azimuth magazine (especially Enrico Castellani and Agostino Bonalumi). Vincențiu Grigorescu’s natural insertion in the Italian artistic landscape, in proximity of such names like Manzoni, Fontana, Castellani, Bonalumi, started in 1975, when he exhibited in a solo show at the Gallery of Modern Art in Torino, curated by Angelo Dragone, followed by the series of Whites shown at Studio A Gallery (in 1974) and Vismara Gallery in Milan (in 1976 and 1980) and numerous international exhibitions.