the misclassification "...Our only neo-impressionist has the quality of not being a virtuoso. It renders not impressions, but visions, dematerializing the aspects, deepening and achieving mystical harmonies, with the help of a fantastic color, of a hypersensitive paste." Opera The last two decades of Gheorghe Petrașcu's artistic career are those that gave to the plastic art in Romania a work characterized by a full stylistic maturity, fact for which the paintings he made during this period gave the art critic the possibility to define and decipher most of the aesthetic coordinates that displayed the entire measure of Petrascian genius. As such, 1933, the year in which the artist opened a large retrospective exhibition at the Dalles Hall, where he presented to the Bucharest public over 300 works executed in oil technology and over 100 engravings, drawings and watercolors, can be considered a reference year in his creation. Starting with 1933, Petrașcu was seen as a painter deeply anchored in some unitary coordinates that led to a remarkable consistency in the use of pictorial material. Of course, the critical analysis of his work can be made at the level of 1936 when he was received as a member of the Romanian Academy, year in which he made another great exhibition or with the last great exhibition in 1940. On the other hand, making an analysis of the work at a time of maturity would actually lead to a critical rigidity, because the diachronic slips towards the formation period of his artistic past are inherent. The edifying examples begin with the self-portraits, which must be approached starting with the first ones he made, or with the means of expression used, starting from romanticism, passing through impressionism. To reach a state of grace of maturity, Petrașcu went through a difficult and slow evolution that required his tenacity and patience. As presented above, in his youth he oscillated between contradictory tendencies such as sămănătorism and modernism, especially symbolism. The artist tried to reconcile the two directions, which later translated into his own intimate art formula. The intimate nature of the new style brought by Gheorghe Petrașcu is argued, in the opinion of the art critic Vasile Florea, by the continuous increase of the number of works with still lifes, interiors and flowers. Sources of style An obvious feature in Petrascian's work is the mutation that occurred in the artist's relationship to romanticism, which translates