Mihai Olos was only seventeen when the great sculptor died in Paris and he must have heard the rumors about the communist government's refusal to accept Brâncuşi's studio and bring home his work.
Thus the artist's inheritance remained to the France whose citizen he had become a year before his death.
Mihai Olos must have read also the articles published by the art critics Barbu Brezianu and Petru Comarnescu about the sculptor.
Reading Brâncuşi's biography, the young artist was impressed by the similitude with his own life-story: orphan at an early age (though it had been Brâncuşi's father who had died), he ran away from home when he was eleven; he had a beautiful voice, he had suffered of tuberculosis and feeble health; he was fond of company, sang well, had been admired and loved by women etc.
Moreover, Mihai realized that when he left his beard grow there was a shocking resemblance between him and the great sculptor, a resemblance he stressed wearing white folk garments and making people observe this similitude.
The great sculptor's work – especially his birds and the Endless column – had been inspired by elements of folk carvings.
Exploiting the folk art Mihai so well knew, with its abstract symbolism, seemed the best source of inspiration to circumvent and counteract the officially imposed style.
Nevertheless, avoiding to become just an imitator of Brâncuşi's model, Mihai Olos had to find some original element becoming his own.
If Brâncuşi had found inspiration in the wooden pillars from Oltenia and the wooden birds on pillars representing the soul of the deceased in country churchyards, Mihai remembered the combination of wooden pillars from the architecture of the churches in Maramureş and discovered an ingenious miniature replica of these wooden structures, replacing the little wheel at the end of the wooden spindles used by women when spinning.
Moreover, some of these miniature structures at the end of the spindles had pebbles in the middle which made a rattling sound while the woman was spinning.

His admiration for Brâncuşi's personality and art made Mihai Olos approach those who had known and written about the master and who would recognize his physical resemblance to him as a guarantee of his also becoming a great artist.
The most important among these Brâncuşi scholars was art critic Petru Comarnescu living in the capital city who – after a long period of prosecution for having been member, together with Mircea Eliade, of a right-wing group of intellectuals – got back the right to publish under his own name, during the mid nineteen-sixty's political thaw.
The first great show of notice he organized was that of Ion Ţuculescu's paintings which had no connection with socialist realism, an exhibition he will itinerate in the United States.

Mihai's trips to Bucharest, multiply and Petru Comarnescu includes him among the young artist deserving to be encouraged.
The critic not only accepts him in his home with the other young artists, but after testing him to see whether he deserves his confidence, receives him as his friend, lets him sleep on the couch in the entrance hall, allows him to look at his art collection, his books, to read some of the letters he used to get from his friends living abroad, among them Eugène Ionesco, Mircea Eliade, Emil Cioran, as well as other members of the Diaspora.

The desire to exhibit in Bucharest became even stronger for the artist when the Baia Mare art museum opened a group show of Bucharest painters: Spiru Chintilă (b. 1921) from an older generation, who had had a solo show in Baia Mare in 1959, Mihai Danu (b.1926), Ion Pacea (b.1924) and Ion Gheorghiu (b.1929).
If Chintila's paintings hinted at cubism, Gheorgiu and Pacea had both, among other paintings, landscapes from Italy, as they had represented Romania at the Venice Biennial in 1964.
Mihai Olos was only seventeen when the great sculptor died in Paris and he must have heard the rumors about the communist government's refusal to accept Brâncuşi's studio and bring home his work. Thus the artist's inheritance remained to the France whose citizen he had become a year before his death. Mihai Olos must have read also the articles published by the art critics Barbu Brezianu and Petru Comarnescu about the sculptor. Reading Brâncuşi's biography, the young artist was impressed by the similitude with his own life-story: orphan at an early age (though it had been Brâncuşi's father who had died), he ran away from home when he was eleven; he had a beautiful voice, he had suffered of tuberculosis and feeble health; he was fond of company, sang well, had been admired and loved by women etc. Moreover, Mihai realized that when he left his beard grow there was a shocking resemblance between him and the great sculptor, a resemblance he stressed wearing white folk garments and making people observe this similitude. The great sculptor's work – especially his birds and the Endless column – had been inspired by elements of folk carvings. Exploiting the folk art Mihai so well knew, with its abstract symbolism, seemed the best source of inspiration to circumvent and counteract the officially imposed style. Nevertheless, avoiding to become just an imitator of Brâncuşi's model, Mihai Olos had to find some original element becoming his own. If Brâncuşi had found inspiration in the wooden pillars from Oltenia and the wooden birds on pillars representing the soul of the deceased in country churchyards, Mihai remembered the combination of wooden pillars from the architecture of the churches in Maramureş and discovered an ingenious miniature replica of these wooden structures, replacing the little wheel at the end of the wooden spindles used by women when spinning. Moreover, some of these miniature structures at the end of the spindles had pebbles in the middle which made a rattling sound while the woman was spinning.
His admiration for Brâncuşi's personality and art made Mihai Olos approach those who had known and written about the master and who would recognize his physical resemblance to him as a guarantee of his also becoming a great artist. The most important among these Brâncuşi scholars was art critic Petru Comarnescu living in the capital city who – after a long period of prosecution for having been member, together with Mircea Eliade, of a right-wing group of intellectuals – got back the right to publish under his own name, during the mid nineteen-sixty's political thaw. The first great show of notice he organized was that of Ion Ţuculescu's paintings which had no connection with socialist realism, an exhibition he will itinerate in the United States.
Mihai's trips to Bucharest, multiply and Petru Comarnescu includes him among the young artist deserving to be encouraged. The critic not only accepts him in his home with the other young artists, but after testing him to see whether he deserves his confidence, receives him as his friend, lets him sleep on the couch in the entrance hall, allows him to look at his art collection, his books, to read some of the letters he used to get from his friends living abroad, among them Eugène Ionesco, Mircea Eliade, Emil Cioran, as well as other members of the Diaspora.
The desire to exhibit in Bucharest became even stronger for the artist when the Baia Mare art museum opened a group show of Bucharest painters: Spiru Chintilă (b. 1921) from an older generation, who had had a solo show in Baia Mare in 1959, Mihai Danu (b.1926), Ion Pacea (b.1924) and Ion Gheorghiu (b.1929). If Chintila's paintings hinted at cubism, Gheorgiu and Pacea had both, among other paintings, landscapes from Italy, as they had represented Romania at the Venice Biennial in 1964.
Mihai Olos