His paintings are even less known. I am convinced that there is in the country the so called“drawer literature” written in the era of “pole” still unknown. Just as many artists remained almost anonymous. Under the dictatorship there was an undeclared resistance of people who could not live without painting. There were artists who didn’t subjugate to the political creation. One of these free artists was Liviu Babeș. Surrealism bothered the “comrades” the most. They didn’t understand him and what was not easy to understand was considered subversive. Thus, in a socialist-realist era, works appear that contradict the theses of the Party and of the State. It creates artworks that have no place in exhibitions but are seen in the apartment only by friends.
Babeș’s surrealism is honest and full of symbols and meanings. From the restlessness searches, not necessary plastic but of protest against dictatorship, resulted papers full of substance and emotion. Loneliness, spiritual coldness, lack of communication and emotional communion, fear, psychological tension are immediate cues that appear in Babeș’s paintings. It would be just if the surrealism from the communism, which is easily passing from the expressionist drama, after World War II, to carry a different name. Here is neither the place, nor the time to search this term, but we must understand that the imaginary world that we remember, the movie’s world called “Călăuza”, was not only a refuge for the sensitive people but also a path to freedom. As well as in the case of Victor Brauner, who has foreseen the accident to his eye long before he actually happen, so did the painter Liviu Babeș foreseen in his works his tragic end.