is certain is that he remained on good terms with Theodor Cornel. A bizarre thing is that Theodor Cornel, although it is known that he attended the workshops of several Romanian artists in Paris, such as Constantin Brâncuși, Frederic Storck, Nicolae Gropeanu, Cecilia Cuțescu-Storck, it seems that he never visited Petrașcu because only in 1908, writing a chronicle about an exhibition of artistic youth, stated that "...today I see for the first time the painting of this artist and what a celebration in my soul!..." From Petrașcu's relationship with Cecilia Cuțescu-Storck, which also had epistolary connotations under the sign of Cupid, shows that he did not accept visits in the privacy of his workshop. Cecilia Cuțescu stated that "...Gheorghe Petrașcu and Ștefan Popescu visited me from time to time, and I also sometimes went to see their works. What special natures these friends had; Popescu gladly showed me his paintings, while Petrașcu, although we valued each other, was darker, he didn't want to see what he was working on. As far as I know, this feature remained in the end; he never liked to show you the paintings before exhibiting them." It is also known that Petrașcu never exhibited at the Official Salon in Paris. He sent two paintings but was not accepted. Cecilia Cuțescu mentioned one of the refusals and also admitted. He exhibited, instead, at exhibitions in Bucharest with paintings made in Paris in 1900, 1903 and later. In 1902, the artist returned to Bucharest forever. Tendencies and trends Tendencies – The moment in 1900 in Romania Gheorghe Petrașcu's artistic training and the beginnings of his prominence as a painter coincided with a great turning point in Romanian art and culture. It was characterized by an acute need for change after many decades of struggle between the last bastions of Pasoptism and political junimism. The young, but robust, socialist movement positioned itself in the immediate vicinity of the latter. By simplifying the phenomenon, it can be said that the struggle was between the national current and modernism. The moment 1900, understood in Romania by extension, from the mid-90s of the nineteenth century until the beginning of the First World War, was called the so-called national moment. Those who studied and analyzed this period, substantiated its historical motivation starting from theoretical bases. Thus, the failure to fully realize the demands of the bourgeois-democratic revolution of 1848, corroborated by the