In this sense, the statements that Petrașcu made regarding the examples, so the foreign influences, which affected him during the plastic education, were particularly clear and direct. The interview from 1937 is telling when he acknowledged that "for a painter, the first way to expand his possibilities of expression is to visit museums where a large part of the spiritual treasure of humanity has been accumulated. From this point of view I must recognize as masters the Venetian Titian, the Florentines Boticeli and Veronese, the Flemish succulents, the Spanish colorists and of course the Impressionists Renoir, Sisley and Pissaro." In the opinion of the historian Vasile Florea, the fact that Petrașcu recognized some artists as masters does not mean that he perceived this attitude as an obedient one and the lesson they gave him as a direct, unassimilated influence. He stated that "...I saw many beautiful things, but I always avoided influences." Taking the resonances of Podgorica as an example, he said "...I prefer my glass as small as it is mine." As a result of such statements and of the work left to posterity, it is found that Petrașcu had an active attitude regarding the universal artistic heritage, selecting both from the great tradition of painting and from the modern phenomena of his contemporaneity. He chose everything that molded his temperament and his conception of art. Petrașcu's way of paying homage to the great predecessors of universal painting consisted in making children according to their works. This fact is also a working method used in art education around the world. Copying works was for Gheorghe Petrașcu an activity that he practiced all his life and which he recommended to others, saying that "…Copying good paintings teaches the artist the craft... a piece of advice of great importance for young painters it is to make children after the great works of the past. I consider this exercise as a means of experimental knowledge of masterpieces." Petrașcu did not understand by copying the obtaining of an identical work, made mechanically, but the recreation of the work making a free interpretation for fixing the light, shadow and color relationships, all aiming at the expressiveness of gestures and revealing the essence in volumes. As it is known, the artist made many copies after Nicolae Grigorescu and, certainly, many after works exhibited at the Louvre. His habit of making sketches, sometimes fleeing from paintings