as a constant feature in his creation. If at the beginning of his career, he found his expression in choosing the motive, later, as he evolved, he was included in the deep drama of the work. It is unlikely that Petrașcu would have had something in common with the literary-artistic romanticism that historically crossed the Europe of the 19th century and so widespread in Romania. Gheorghe Petrașcu belongs as an attitude and temperament to the romantic type, as defined by George Călinescu in the essay Classicism, romanticism, baroque, which also gave a recipe for identifying the behavior, the hero or the type of romantic author. Just as Călinescu also mentioned that the two types romantic and classical do not exist in a pure state, but only as mixtures and compromises, neither can Petrașcu be classified as a pure romantic. The prevalence of romantic elements can be seen in it, as the romantics Rembrandt, Goya and Delacroix showed it. Petrașcu's intellectual tendency towards romanticism is demonstrated by the admiration he had in his youth for Mihai Eminescu, which he also paid homage to in his own way. Those familiar with Petrașcu's artistic career know that he was passionate about Byron at one point, while admiring the works of the romantics Delacroix, Titian, Goya, Diego Velázquez and Rembrandt. He made children after them, as well as after the Romanians Mihail Lapaty, a student of Ary Scheffer, and G. D. Mirea, his drama being a basic element of romanticism. Another existing element in Petrascian's work is the appetite he had for the night landscape, which in romanticism is a selenary one compared to the one displayed by classicism as a solar one. Similar to the romantic poets, Eminescu being one of them, Gheorghe Petrașcu was a follower of the moonlight, even if Nicolae Grigorescu, seeing the exaggerated tendency towards the mysteries of the night and the poetic twilights, told him that "...my dear , it is so hard to paint during the day, let alone at night." At such a remark, the artist replied with "...Master, for me painting means poetry. Especially the evening, the starry sky, the mysteries of the night disturb me deeply and I feel the need to transpose them on the canvas." The spell of the moon flooding a world of mysterious shadows is not a setting on which Petrașcu projected his melancholy, as it was for the English