in museums, as well as the habit of making documentary trips, is known as the journey of 1902 with Ferdinand Earle in Germany, Netherlands, Belgium and England or in 1904 in Florence and Naples where he befriended Émile Bernard. He visited Spain, so the Prado Museum, where he saw Francisco de Goya, made charcoal drawings after Tadea Arias de Enriquez with Portrait of a woman and Portrait of Queen Maria Luiza and after Velazquez with Prince Baltazar Carlos in a hunting suit, King Philip IV, Bufón don Sebastián de Morra, etc. With the exception of Grigorescu, Petrașcu also had made copies after Anton Chladek, Mihail Lapaty and George Demetrescu Mirea. After Lapaty he made three color drawings of Mihai Viteazu on horseback (at the National Military Museum, Romania) and after Mirea he replicated the composition of Szekler Peasants presenting to Mihai Viteazu the head of Andrew Báthory. Being secretary of the State Pinacoteca in Bucharest, Petrașcu permanently made drawings after the works of minor foreign painters or after the anonymous people who were in the Pinacoteca. Diana and Endymion were identified after Pietro Liberi, The Death of Seneca after Giuseppe Langetti, The woman with red hair after Jean-Jacques Henner, etc. Incomprehensible to the historians who studied his activity, the fact remained that Petrașcu sold through his personal exhibitions the drawings and copies he made. As a result of the copies he made, echoes of the influence that Corot, Millet, Goya, Daumier, Courbet, Adolphe Monticelli, James Abbott McNeill Whistler, etc., had on Petrașcu's work can be discerned. Following Whistler's example, the Romanian painter began in 1915 to name works with Silver and Black, Black and Green, Rose and Black, Violet and Gold, Green and Gray, etc. Analyzing the painter's experiments after 1900, one can see the influences of Pierre Bonnard and Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley and Claude Monet, whom he indicated as his favorite master. He stated that he liked the works of Marcel Iancu, Picasso and even Constantin Brâncuși at that time when he was viewed with hostility. An important advice that Petrașcu gave to the engineer Romașcu for the acquisition of the Goodness of the Earth (Cumințenia pământului), a fact that happened later. On the other hand, it cannot be considered that Gheorghe Petrașcu was an ardent follower of modernism. He sincerely admired the Impressionists and used some formulas adapted to his style, but he was also