that the ministry granted to Petrașcu, of 1200 lei (1898), was part of the Iosif Niculescu fund. Consequently, on 19 November 1898, Gheorghe Petrașcu sent Grigorescu a letter of thanks from Paris, 29 Rue Gay Lussac. Grigorescu's interventions with Spiru Haret were repeated in 1901, as evidenced by another letter of thanks that Petrașcu sent him. During this period, the artist met at least twice, probably in the summer of 1900, with Grigorescu at Agapia where the master was with Barbu Delavrancea and Alexandru Vlahuță. From Petrașcu's confessions, he presented to the master some works he had done, Grigorescu appreciating the one entitled After the rain at Agapia. As a result, Delavrancea, relying on Grigorescu's expertise, bought him the painting for the Bucharest City Hall from the first personal exhibition that Petrașcu organized. The second meeting between Petrașcu and Grigorescu took place in Paris on the occasion of the International Exhibition. Grigorescu visited him at the workshop and studied his works, after which they walked through exhibitions, through the Grand Palais. A third meeting took place in 1903 when the painter visited Grigorescu in Câmpina. The memories of Grigorescu followed him all his life and he evoked them repeatedly. The highest homage he paid to Nicolae Grigorescu was on the occasion of his reception in the Romanian Academy in 1937. Moment 1900 in Paris In 1900 in the French capital presupposes an in-depth analysis of the last decade of the nineteenth century and the first decade of the twentieth century. The triumph of the innovations presented at the Universal Exhibition in Paris in 1889 had as its first landmark the construction of the Eiffel Tower, when iron was first introduced in architecture. The second indisputable landmark was the outbreak of World War I. Artistically, another landmark was the great exhibition of Paul Cézanne's work opened by art dealer Ambroise Vollard in 1895. Through temporal symmetry, in 1907, after Cézanne's death in 1906 and starting from his work, Cubism was inaugurated, a current that had extensive artistic consequences in the history of the arts (Misses of Avignon by Pablo Picasso). Similar to the secessionist events in Paris, the 1896 Exhibition of Independent Artists in Bucharest was a start-up event for a new stage in the Romanian arts. On this occasion, the idyllic dreams of Grigorescu's descendants began to fade. The volume of memoirs entitled The Two-Century Riding of the memorialist Sextil