Rodica Maniu Mützner (1890–1958) holds a distinctive place in the history of Romanian modern painting. Born in Bucharest into an intellectual Transylvanian family, she benefited from an early environment deeply engaged with the cultural debates of her time. Encouraged by her father, she studied with Nicolae Vermont before continuing her artistic education in Paris at the Académie Julian and La Grande Chaumière, where she trained under Lucien Simon, Charles Cottet, and René Ménard. This Parisian formation brought her into contact with the circle of the Bande noire, a group dedicated to renewing realism through sombre tonalities and a modern sensibility.

From her earliest exhibitions in 1910, held simultaneously in Paris and Bucharest, Maniu revealed a pronounced interest in the rural figure, plein-air painting, and in the compositional balance achieved through colour. A sojourn in Munich and later travels to Brittany expanded her artistic vocabulary, sharpening her sensitivity to light and its structuring role within the pictorial field.

In 1923 she married Samuel Mützner, with whom she shared both a personal and artistic partnership. Their subsequent travels – to Balchik, Corsica, and the Near East – enriched her oeuvre, which includes landscapes, portraits, and interior scenes, all marked by a spontaneous and fluid handling of paint. Watercolour, her preferred medium for its immediacy, infused her oil paintings with a luminous transparency. Her works from Balchik situate her within the broader phenomenon of the Balchik School of Painting, a locus of experimentation for interwar Romanian artists.

Rodica Maniu Mützner exhibited widely throughout her career, participating in the Tinerimea Artistică shows, the Official Salons, the Venice Biennale in 1924, and the Barcelona International Exhibition of 1929. Her paintings are now preserved both in public and private collections, including the National Museum of Art of Romania.

Her artistic identity lies in the subtle balance between local themes and the European avant-garde currents she absorbed abroad. By sustaining an equilibrium between rural figuration, Impressionist legacy, and Post-Impressionist chromatic exploration, she contributed a singular voice to the interwar redefinition of Romanian modern art.