for Sămănătorism aesthetics was played by the magazine Literatură şi artă română led by Nicolae Petrașcu, which through ideas, feeling and form made the transition from Junimea to Sămănătorul. Thus, Ilie Torouțiu pointed out that he had a pre-similar rumor in the program in which Maiorescian cosmopolitanism was a reason for launching some and withdrawing others. The magazine's tendency was categorical in support of local art and literature, but it allowed, using ambiguous terms, the opening of a path to some modernizations of expression and renewal. On the other hand, taking into account its main tendency, which was a national one, Nicolae Iorga praised her, as there were reservations for the concessions he made to the modernist spirit. By comparison with the magazine Sămănătorul, Romanian Literature and Art proved an appetite for the new artistic currents. Because the magazine was fashionable and reflected the progress of things, it received the golden medal at the Universal Exhibition in Paris in 1900. An argument for this critical analysis is the cover of the magazine, which has a neoclassical handcuff from which rise stylized flames in Secession – Art Nouveau style, compared to that of Sămănătorul who was as characterized by Nicolae Iorga "… modest magazine in white minority dress, without an appeal, without ornaments." Gheorghe Petrașcu lived in Nicolae Petrașcu's house and knew too well the guidelines of the magazine run by him. Between 1906 and 1907, he himself published chronicles about art under the pseudonym Sanzio. He saw the need for change in art, just as in literature the less obedient spirits of traditionalism sought new methods and ways to get out from under the shadow of Mihai Eminescu. He noticed that in art it manifested itself in a sowing spirit, a reaction to the sweetened and tasteless idyllicness of Nicolae Grigorescu's descendants, as well as an attitude to mortified academism in rigid forms. Petrașcu also knew the Parisian symbolist experiences and is known to have been friends with Dimitrie Anghel. The extent to which symbolism contaminated Petrașcu was revealed by Theodor Enescu, who defined the impact that this current had on local art. As is well known, symbolism could never be precisely defined in art, as it has been in literature. The concept came closest to the variations of the 1900 Art style, ie Art Nouveau, Modern Style, Mir iskusstva, Secession, etc. The perfect overlap was only with the Nabi