by Petrașcu to Romania for publication in the magazine Literatură şi artă română, whose leader was Nicolae Petrașcu. These meetings were evoked by Iosif and Anghel later under the pseudonym A. Mirea: "… We lived in Paris, at that time, a group of young people whom the story had gathered and each brought his own special note once a week, in one cafe or another, and we sat on jokes and stories until late. I recall the past and see around the marble table the nice faces… Petrașcu with his healthy Moldovan humor, rich in anecdotes and cheerful approaches…" The last two years in Paris In the last two years in which he stayed intermittently in Paris, to finish his studies, the group of Romanians from Closerie de Lilas broke up, because most of them returned to Romania. Of course, these were not all those with whom Petrașcu communicated in the French capital. Among the other characters is the art critic Theodor Cornel, named Toma Dumitriu. He spent his childhood in Iasi and was of the same generation as the artist. Also, an important difference is that he did not belong to the category of those from whom Petrașcu came and he always struggled in insurmountable material deficiencies, he constantly living in a lucid poverty. Because of this, he probably chose the pseudonym Tristis, with which he signed the chronicles he wrote for the newspaper Evenimentul. Cornel had been in Paris since 1896 and was a regular at cafes where, as he stated, one could write "…the history of Romanianism in Paris". It seems that Petrașcu was in a cordial relationship with Cornel because he was supposed to be one of those who collaborated in publishing bilingual magazines Revue franco-roumaine. As it is known, the magazine was founded by Stan Golestan together with Theodor Cornel in 1901, as an exaltation of Le cercle d'accier, an artistic circle founded at the initiative of Cornel in 1899. The circle brought together French painters Gilbert Dupuis, Bernard Naudin, Bouquet and engraver Victor Vibert. The historian Vasile Florea stated that looking through the prism of the experience he gained, helping Nicolae Petrașcu in editing The Romanian Literature and Art magazine. Gheorghe would have been interested in Theodor Cornel's publication, because he appears in the editorial team. On the other hand, in the only few issues of the magazine, Petrașcu has no published article. What