Pușcariu is telling, an analysis that was also limited to a symmetrical period, 1895–1905. Gheorghe Petrașcu arrived in Paris after a short stop in Munich. He is the one who stopped the least in the Bavarian capital of all Romanian artists. There is no information or trace left to posterity that the painter left in Munich. The power of attraction of Paris has been steadily rising over the years, so that the notoriety which Munich had enjoyed had declined. Munich's vogue had historically been due to the extinction of Forty-Eighters echoes and the growing assertion of the Junimea ideology. Exponents of ideological prosperity were Ioan Slavici, Mihai Eminescu, Ion Luca Caragiale, Alexandru Dimitrie Xenopol and many others. The first to change his orientation was Alexandru Macedonski who lived and wrote in Paris and then Dimitrie Anghel from 1893 lived enthusiastically "the new religion of symbolism". Petrașcu was preceded in Paris by Theodor Cornel, Alexandru Bogdan-Pitești, but also by Ștefan Luchian five years earlier, and even Theodor Aman, Ion Andreescu and George Demetrescu Mirea in ancient times. Others found Petrascu in Paris. Such were Ștefan Popescu, Ipolit Strâmbulescu, Kimon Loghi, Constantin Artachino, Eustațiu Stoenescu, Ludovic Bassarab, the engraver Gabriel Popescu and Dimitrie Serafim. With Serafim, Stoenescu and Artachino, Petrașcu was a colleague at the Académie Julian. Student at the Académie Julian Gheorghe Petrașcu attended the Académie Julian, but without much determination. As is well known, he worked at Stefan Luchian in William-Adolphe Bouguereau's studio. He also had teachers Benjamin-Constant, Jean-Paul Laurens and Gabriel Ferrier. The artist did not have much to learn from these representatives of official Parisian art, especially from Bouguereau who was a champion of academism. In all the evocations that Petrașcu made, he passed very quickly over the years of plastic training. He stated that he went more to drawing classes and through the exhibitions and museums on Rue Laffite where he could see the works exhibited by the Impressionists. Of his obligations to the Académie Julian, only Orpheus in Hell and The Fall of Troy are known. During Nicolae Grigorescu's visit to Paris in 1900, he saw the two compositions and was disappointed. Instead, he saw some works by nature made by Petrașcu in the Fontainbleau forest and encouraged him to go in that direction of art. Parisian Bohemia If his relationship with the Académie Julian suffered from a reserved attitude, on the other hand Gheorghe Petrașcu