Gheorghe Ionescu Doru (b.1889 – d.1988) was a Romanian painter whose discreet yet persistent presence within the art world of early twentieth-century Romania reveals a personal synthesis of national traditionalism and modern impressionist practice. 

Educated in Bucharest and active within several artistic societies, including Cenaclul Idealist, Arta Română and Salonul de Toamnă, Ionescu Doru was closely involved in the efforts to articulate a Romanian identity in modern art. His early participation in wartime artistic mobilizations in Iași and later involvement in the Arta Română group point to a vision shaped by the national project of cultural self-definition through visual forms. 

His paintings, often depicting rural houses, churches and abandoned dwellings, reflect a restrained and melancholic impressionism aligned with the artistic legacy inherited from Nicolae Grigorescu. Avoiding human figures, Ionescu Doru cultivated a visual language centered on silence, atmosphere and locality.  

Ionescu Doru was also among the artists involved in the creation of the Troița ceramic studio, and initiative that sought to establish a modern Romanian decorative art grounded in vernacular traditions.  

His works are best represented in the collection of forensic doctor Nicolae Minovici, where he remains the most prominently featured painter. This preference suggests not only the collector’s affinity for a certain atmospheric ruralism but also Ionescu Doru’s ability to speak, though painting, to deeper anxieties of identity and cultural rootedness in the interwar period. His case exemplifies the marginal modernism of artists who sought to reconcile aesthetic innovation with national specificity, often from positions peripheral to dominant cultural canons.