Natalia Dumitreco is a non-figurative artist of Romanian origin born in 1915 in Bucharest. She graduated from the Academy of Fine Arts in Bucharest in 1939, she married her compatriot, the painter Alexandre Istrati (Dorohoi, 1915 - Paris, 1991). The couple arrived in Paris in 1947 and settled there definitively. The following year, Dumitresco and Istrati became friends with the sculptor Constantin Brancusi (Hobita, 1876 - Paris, 1957), who was also of Romanian origin. The latter installed them next to his house, at n ° 11 impasse Ronsin in the fifteenth arrondissement of Paris. The three artists worked together until 1957, the date of the sculptor's death, which designates the spouses Istrati as his rightful claimants. In 1955, she received the Kandinsky Prize and in 1965, she acquired French nationality. In 1977, the "Brancusi workshop" was restored at the Center Georges Pompidou under the impetus of Istrati and Dumitresco. The artist died in Paris in 1997. His work is hailed by several illustrated works and exhibitions in Washington, Dunkirk, Basel, New York, Paris, etc.

After their arrival in the capital, Dumitresco and her husband joined the abstract painters of the Jeune Ecole de Paris. After a brief period influenced by the New Realities in bright and clear colors, Dumitresco turns to a personal style. Reusing the square dear to its suprematist masters, it makes it evolve in space, by treating it to line or spots, as many forms that it multiplies, intermingles, superposes with extreme refinement. The canvas is then filled and seems animated by this profusion. Gradually, colors become more and more important in the artist's canvases, which plays on the chromatic subtlety of values. The paintings of Dumitresco, like those of her husband whose history is inseparable, are still non-figurative in spite of titles sometimes very concrete. In the 1980s, she made polychrome resin totems on which she transposed her network of colorful signs.

His compatriot and friend the playwright Eugene Iomesco (Slatina, 1909 - Paris, 1994) wrote about Dumitresco that she "picks up scattered pieces of the universe she is trying to recompose; It reinstates, it tries to restore a little order in the chaos; It dominates its anguish, it isolates it, encloses it in its contours; She draws, she is classic ... It is an idea of ​​the order she gives us and this is, of course, the reason why her painting is abstract in the most precise sense of the term."