group. Expanding its scope a lot at European level, many artists who are followers of the current can be listed. The same can be done in Romania: Ștefan Luchian, Aurel Popp, Apcar Baltazar and even Constantin Brâncuși and Dimitrie Paciurea. Of course, symbolism has two directions depending on what is actually meant by it. The first direction is that of the so-called cultured proletarian artists who were decimated by misery and phthisis and as a result, were prey to despair and skepticism, in which symbolism was the evil of the turn of the century. In this case, the artist appealed to the occultism, esotericism and all kinds of bizarreness. The second direction was that of artists who had no material deficiencies. Their symbolism was one without anxieties, turmoil or drama, and they lived their lives without worries. Unlike Traian Demetrescu, Ștefan Petică or Iuliu Cezar Săvescu, they were willing "to look at life from a contemplative angle ...; they show aesthetic inclinations, often gratuitous delight, not infrequently hedonistic. That is why they will be receptive especially to the atmosphere of fête galante ... tasting of symbolism especially the sets and attitudes of refinement, the thin emotion ...". By relating Petrașcu to symbolism, it is easy to see that he is part of the second direction, because he cannot be assimilated to Petică who said that "the cafes and the mess ate me fried". He was a robust character and by no means had neuroses, spleen or languor. Petrașcu did not revolt, he came from his own vineyards and as a result he had nothing to repudiate. Feeling the routine of the old ways of expression, he understood that the time had come for art to flourish. Having a deep respect for the values of Romanian and universal art, he perceived them as landmarks and fixed them as beacons of orientation. Influences, suggestions and options Gheorghe Petrașcu's artistic education also presupposed the existence of some of the most diverse artistic phenomena and factors that depended on it. It is obvious that there were influences of some foreign and Romanian painters that manifested themselves from the earliest artistic manifestations of the Romanian painter. The historian Theodor Enescu meticulously revealed Petrașcu's formative years and revealed art critics, all the twists and turns of the path followed by the artist, as well as all the alluvium that his work led to its becoming unique.