The first post-war exhibition (The 1st Exhibition of the Union of Artists from Nagybánya) opened its doors very soon, at the end of January 1945. Although the "Stalin" of Janka Olejnik and the "Lenin" of Lídia Agricola had to be a part of it, most of the exhibited works of art represented the tendencies typical for Nagybánya. Old masters: Sándor Ziffer, András Mikola, Jenő Pászk, Géza Kádár, Béla Balla and representatives of the younger generation: József Balla, Iván Szilárd were present as well. Works by József Klein and Márton Katz, deceased at the end of the war, were also exhibited.
A committee of five members was founded in 1946 in order to have the buildings of the colony repaired and to organize the reopening of the school. The whole summer was spent with such undertakings and at the end of the autumn the teachers recommenced their work with the leadership of Lídia Agricola, Géza Vida and Petre Abrudan.
The "Exhibition of the new art of the Romanian Republic" was organized in 1949 at Budapest. A good selection of the works of art that were exhibited in Bucharest the former year could be seen here as well. The exhibition catalogue mentioned Nagybánya as an important scene of creation, where the pupils of the Academy of Fine Arts were inspired by the reality of the miners' everyday life. Apart from the obligatory themes of such exhibitions (the heroes of those times: great men of history, peasants, industrial workers), a great deal of miner-genres could be seen indeed. Nevertheless, besides the mentioned ones, the public could get acquainted with works of art that represented the traditional values of Nagybánya: Lídia Agricola: Self-portrait, Sándor Ziffer: Self-portrait, Béla Balla: Mountains of Nagybánya.
The internationalist ideology, which was taking over in this period of time, tended to wipe out the distinguishing cultural specifics of the different nations and nationalities. For example, the same fixed motifs appeared on works of art of different exhibitions. The School of Nagybánya was also influenced by the ruling ideology of that era, which permitted to fine arts to have only the role of illustrations. The landscapes had been altered: industrial motifs became more and more accentuated. Beginning with the sixties, the influence of the socialist-realist ideology started to diminish, but the assimilation of the Hungarian national culture was getting stronger. In spite of this, the old masters: Sándor Ziffer, András Mikola, Oszkár Nagy continued their work.
Oszkár Nagy took no interest in the naturalistic conveying of the view. He was rather following the tradition of the neoists from Nagybánya. His personal style evolved in the in the 20's. His pictures were composed of homogeneous decorative spots of colour. These spots sometimes dissolved off the forms and began to have a life of their own. Oszkár Nagy reached the borders of nonfigurativity: Street in winter, Looking into the distance, Houses at Felsőbánya, Houses in Winter at Felsőbánya.
These years brought with them a second change of generations as well. Ágoston Véső, Gyula Dudás, Frigyes Walter, István Kozma arrived here from the Academy of Fine Arts of Kolozsvár and accepted consciously the heritage of Nagybánya. József Balla represented a very personal style in this circle with his peculiar, surreal way of seeing things.
Gábor Vida tried to open a High-school of Fine Arts in 1950, but the artistic life, which preceded the world war couldn't be brought back to life. The Association of Artists organized exhibitions on district and county level. The spirit of the place ceased to have an influence or to exist. Only the personal oeuvre of some artists could conserve the original tradition. In the past decades the fame of the artists still working at Nagybánya couldn't reach over the borders of the country. The happenings, the exhibitions had only a local significance.