in the "Zambaccian Museum" seems to descend from the Italian Renaissance, of a solemn gravity but also with a note of sensuality. In personal exhibitions, between 1903 and 1923 at the Romanian Athenaeum, then at the "Home of Art" (1926–1930), culminating with the two retrospectives at the "Sala Dalles" in 1936 and 1940. He participated in the Venice Biennale (1924, 1938 and 1940); he received the "Grand Prize" of the "International Exhibition" in Barcelona (1929) and the one in Paris (1937). Memorialistic, general considerations Once the time have passed, the work that Gheorghe Petrașcu left to posterity, about three thousand paintings and many graphic works, became a dowry of fine art on which all sorts of observations were made, being different all of them. Those who studied his work and valued his creation found that there is a lot of confusion and erroneous appreciation in his biography. There were minimizations, invectives and unjust criticisms, many persiflages but also truisms, benevolent platitudes, exaggerations and praise of circumstance. Critical analyzes have made essential and judicious references, often definitive. It is noteworthy that the early assessments that were validated by the late contemporaneity, remained equally valid today. The pertinent, sometimes subtle, remarks made by Ștefan Petică are telling in the conditions in which he did not have an overview of the Petrascian work. In the period before the First World War, there were penetrating comments by Apcar Baltazar, B. Brănișteanu (the literary pseudonym of Bercu Braunstein), N.D. Cocea, Marin Simionescu-Râmniceanu, Tudor Arghezi, Theodor Cornel (the literary pseudonym of Toma Dumitriu), Iosif Iser, Adrian Maniu, etc. During the interwar period, Francisc Șirato, Nicolae Tonitza, Nichifor Crainic made significant contributions, followed by George Oprescu, Oscar Walter Cisek, Alexandru Busuioceanu, Petru Comarnescu, Ionel Jianu, Lionello Venturi and Jacques Lassaigne. All of them made the effort to explain and understand the creation of the Romanian artist. It is noteworthy that in the press chronicle during the painter's lifetime, the same observations were made, repeated to satiety by dozens of commentators. The art historian Vasile Florea opined that even today the same appreciations are made by those who study Petrașcu's work, without knowing that they do it by rediscovering certain aspects that others have stated decades before. Florea was also has an opinion that the process of revealing the meanings of the artist's creation will be completed with great difficulty due to the vastness of the work and