872:" of his lifetime, resorted to an "excessively idealist criticism". Călinescu also commented on the artistic ideals expressed by Gelea (and, through him, by the author), indicating that, to a "cultured reader", these could only signify "platitudes". To illustrate this, he cited two of Gelea's monologues. One showed the character commenting on an "ideal" poem, "filled with the promises of a serene and mighty future , alive and powerful, and branding with a hot iron the weaknesses and miseries of this day and of life in these times." The other showed Gelea outraged that young women actors had agreed to partake in a vulgar theater production, and commenting on the nature and role of female beauty and behavior: " the treasure of virginal beauty which bestows something angelic upon women, the modesty, the chastity, the shyness, were all blown away in a single evening".
31:
730:
666:, and unrealistic in its expectations (he thought Romanian literature was "at a primitive phase"). As the author himself recorded in his memoirs, he had first expressed moderate criticism of Maiorescu's positions in his 1893 study. According to Petrașcu, the elder critic replied saying: "My opinion is that this , toward which I see you are inclined, can only be a passing trend, since it only deals with secondary issues, such as the social environment." N. Petrașcu expanded on this difference of opinions: "I realized, for instance, that about talent being one and the same, be it born in the forest, be it born in Paris or
544:. At the time, the two innovative currents stood accused of having been generated locally through "imitation", and of not being connected with the cultural environment. The speaker, who stated that "the spirit of imitation" was normal and "the strongest on which the world's progress rests", nonetheless took distance from Dobrogeanu-Gherea and the
875:
Reviewing Gelea's fictional designs for the
Metropolitan Palace and his subsequent frustration, Călinescu argued that Petrașcu had in fact expanded on a "false theme"—in his view, if Gelea is a person of genius, he ought to have seen past such impediments. He concluded that the novel's only value
855:
Gelea, who completes his studies abroad, returns to
Romania "imbued with all talents and all virtues, having his will set on raising the artistic level of his country", and ready to react against all things he perceives as frivolous. He falls in love with "the young widow Olga Lari" and then with
816:
Building on his sociological theories, Petrașcu postulated that there was a contrast between the men of genius and the expectations of the local public. He believed that "All the
Romanian talents have been deviated or defeated by our society, most of them in the flower of their youth and manhood,
867:
George Călinescu was highly critical of the novel and of Petrașcu's techniques, accusing the writer of lacking in "creative force", and his character of "analytical plainness" which resulted in "interminable speeches". Călinescu notably proposed that the author had failed to profit from the more
704:
views on national specificity, assessing that the idea was not confirmed by science, and that it was itself a new and foreign concept (stating that Taine was "hard to take into consideration as an authority on the matter"). However, in his analysis, Negulescu refrained from refuting the theories
450:
nature evident in some of
Eminescu's best-known poems. While Dobrogeanu-Gherea spoke of social causes behind the poet's attitudes, Petrașcu attributed these to "a change in the fundamental forces of the contemporary soul, that is to say in the relation between intelligence, will, and faith".
860:, innocent but ailing". He marries the latter, and she heals with support from Gelea. In the process, as Călinescu puts it, the architect becomes "a jaded person, one would say a failure". A particularly important episode involves Marin Gelea's participation in a contest to design the
681:
to tone down its "violent" discourse and adopt an "honest, helpful and proper criticism". Such arguments mirrored those of
Dobrogeanu-Gherea, which had first surfaced during an earlier and longer polemic between him and Maiorescu, but were generally harsher in tone.
369:): Petrașcu was one of the young and aspiring authors who had discovered Eminescu's work just before the poet went mad and isolated himself, a generation subsequently classified as "Eminescian". Beginning in 1887, Petrașcu sporadically contributed to the
657:
had sought to marginalize all other voices. He condemned
Maiorescu for his belief that a Romanian work could only expect to impose itself if it was of equal value to its foreign counterparts. For Petrașcu, this guideline, known as "autonomy of the
674:, was not an allowable opinion. Just as well, and even more so, the idea that the literary work resides in the beauty of shapes and that the substance, that is to say the thoughts it comprises, has no importance, was also an unjust opinion."
817:
when they did not yet have time to lend their power to full measure". Among the creative people he cited where Mincu, Eminescu, Zamfirescu, Dobrogeanu-Gherea, Ștefănescu-Delavrancea, Ion Luca
Caragiale, Vlahuță, as well as the writer
844:. The critic also argued that the novel had been heavily influenced by Zamfirescu, and noted that the two authors shared "a moralizing and patriotic attitude", a sympathy for the landowners and peasants, and a distaste for the
431:("Mihail Eminescu, Critical Study 1892") . In 1893, Maiorescu publicly praised the Eminescu monograph, and awarded it a prize. Petrașcu later admitted that the writing was actually "an admiring recollection of the great poet".
1513:
455:, who noted its biographical research. Investigating the circumstances of Eminescu's illness and the impact it had on the poet's work, Ibrăileanu used assessments made by Petrașcu (and, separately, the testimonies of poet
744:, and, in 1899, his magazine defined Maiorescu as "a superior man from several points of view". He also spoke of the critic as an inspiration, which, he argued, was still evident despite "the different road" adopted by
752:
as the main representatives of
Romanian literary criticism. He was nonetheless still critical of Maiorescu's "autonomy of the aesthetics" and his inflexibility in relation to "scientific criticism".
30:
802:
company and undated), where he notably provides quotes on his friend's old age nostalgia and eccentric projects. In 1929, Petrașcu also authored a monograph on Duiliu
Zamfirescu. Literary critic
630:
for the emphasis he placed on race, milieu, and moment, arguing that its "organic" character could serve to renew art and literature in
Romania. In parallel, he was interested in
840:
proposed that the protagonist was actually Petrașcu's good friend Mincu, and noted that the name used in the book may have been based on that of a real-life participant in the
713:, who was still a supporter of the literary group: Dragomirescu indirectly assimilated both Dobrogeanu-Gherea and Petrașcu with various known detractors of Eminescu, such as
427:
journal included a study of Eminescu's work. It was published as a series between 1890 and 1891 (that is, in the two years following Eminescu's death), but carried the title
62:
451:
Dobrogeanu-Gherea chose not to reply to these points. The study was nevertheless acknowledged decades later by Dobrogeanu-Gherea's disciple, literary historian
848:
and people of foreign origin ("the superposed stratum", depicted as corrupting). Unlike Zamfirescu, Călinescu suggested, N. Petrașcu had little sympathy for
350:
700:; he also argued that the society had not awarded any form of special treatment to its own affiliates. Additionally, Negulescu contradicted Petrașcu's
653:
N. Petrașcu's articles of the time show him to be speaking out against the "destructive criticism" of Maiorescu and his supporters, arguing that
323:, this was on the initiative of Gheorghe and Nicolae's cousin. Also according to Călinescu, it was Nicolae who later changed the family name to
1314:
1306:
483:
1463:
1458:
1453:
1419:
729:
764:
409:
1433:
1410:
841:
696:
of having failed to support young writers, Petrașcu had overlooked the encouragements Maiorescu had given to Eminescu, Coșbuc, and
1508:
1478:
568:
215:
887:
408:). Some of his other essays were noted for their polemic tone: among these was his earliest, a piece on short story writer
639:
635:
580:
836:, where the eponymous hero, an architect, faces the moods of his public and ultimately fails to adjust to local culture.
1468:
443:
1493:
1473:
1448:
336:
1425:
459:), to conclude that Eminescu had been incapable of producing any more poems after the full onset of his symptoms.
918:
1245:
788:
533:
861:
599:
748:. On the occasion of Maiorescu's 60th year of activity, Petrașcu cited him, Dobrogeanu-Gherea and his friend
1033:
647:
607:
541:
272:
236:
136:
132:
36:
876:
resided in its "historical interest". Among the covert references to various cultural figures of the day,
478:, Maiorescu's rejection of most new literary trends may have been resented from early on by several young
791:
theologian, whose lengthy correspondence with Petrașcu was uncovered and analyzed by the literary critic
643:
339:
1483:
393:
197:
913:
798:
Among N. Petrașcu's final works was his essay on the life and work of Anghel Demetriescu (published by
452:
1362:
497:
He clarified his position in time, through polemics, and, during an April 1892 lecture he gave at the
1503:
1498:
1354:
718:
697:
631:
284:
252:
1384:
837:
826:
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Demetriescu and N. Petrașcu were hosts to an intellectual circle which also included the architect
710:
584:
375:
320:
268:
615:
1488:
881:
822:
776:
760:
749:
611:
498:
474:
Nevertheless, his views were often shaped by outside influences. According to literary historian
295:
150:
100:
714:
634:'s Positivism, with its notion of "scientific criticism". Among other influences he cited were
192:, was a Romanian journalist, essayist, literary critic, novelist, and memoirist. The author of
1429:
1406:
1366:
1310:
1302:
1249:
1165:
792:
768:
401:
211:
180:
167:
271:. Alongside Ollănescu-Ascanio and Zamfirescu, his circle came to include, among others, poet
806:
argued that the work had "volubility", "sense of the picturesque" and "critical intuition".
772:
626:
message and a return to "national specificity". Petrașcu himself hailed the French theorist
603:
413:
1392:
852:, seeing as "lacking in national sentiment and any contact with the country's tradition".
689:
663:
627:
595:
491:
315:
as the son of Costache Petrovici-Rusciucliu and Elena Bița, he had his surname changed to
264:
248:
740:
Several years after his polemic with Negulescu, Petrașcu acknowledged the importance of
784:
537:
389:
At the time, Petrașcu published a series of studies on Romanian writers, including the
362:
354:
276:
260:
244:
128:
1442:
688:
answered through this attack through the intervention of its editor, the philosopher
456:
366:
525:
such as Dobrogeanu-Gherea, as well as with the ideals expressed by Nicolae Xenopol.
16:
Romanian journalist, essayist, literary critic, novelist and memoirist (1859 - 1944)
1415:
1237:
1026:
845:
818:
803:
201:
771:. For a while before 1902, they were probably joined by Demetriescu's young pupil
548:
press in arguing against the Naturalist perception of society as a decaying body.
868:
interesting circumstances of his novel, and, instead of depicting "the universal
243:
as its main sources of inspiration. He was also noted for endorsing the views of
1157:
849:
721:(in his review of the article, Ornea indicated that this was done "abusively").
701:
671:
514:
487:
466:("Contemporary Literary Figures"), which opened with a study on Titu Maiorescu.
390:
240:
232:
140:
733:
2014 photo of Petrașcu's house in Bucharest, Piața Romană, nr. 1, designed by
659:
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92:
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518:
447:
332:
298:, and contains several references to important cultural figures of the day.
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193:
118:
108:
705:
themselves, and instead argued in favor of a middle path between them and
509:. On the same occasion, he claimed that science had the power to "remove"
462:
In May of the same year, his various pieces were reunited under the title
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104:
96:
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to adopt independent and distinct positions around the same date were
294:. The work deals with the status of geniuses in the late 19th century
667:
312:
58:
622:
s strict aesthetic guidelines, and advocated instead an art with a
857:
728:
590:
The journal soon enlisted contributions from other adversaries of
506:
517:, and faith itself. His lecture showed similarities with that of
869:
349:
sessions and was an admirer of its main figure, the thinker and
210:, but did not embrace all its tenets. Like his friend, novelist
1514:
People from the United Principalities of Moldavia and Wallachia
795:(who also published and commented Petrașcu's autobiography).
575:
influence, and was one of several departures—other prominent
227:
During the 1890s, his group carried an extended polemic with
434:
The essay was also at the center of a polemic with the anti-
404:(both of whom successively affiliated with Romanticism and
379:, sending literary essays which he usually signed with the
779:
and himself a future novelist. Among his collaborators at
709:. In 1895, further criticism of N. Petrașcu was voiced by
255:. In this context, he engaged in public debates with the
1389:
Istoria literaturii române de la origini până în prezent
916:, "Edițiile poeziilor lui Eminescu (continuare)", in
670:, be it living in our time, be it living during the
231:, and Petrașcu developed his own tenets, which took
1341:
1339:
1337:
1335:
1164:, Vol. II, Editura Minerva, Bucharest, 1971, p.11.
1144:
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954:
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68:
43:
21:
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218:, established a new circle around the magazine
63:United Principalities of Moldavia and Wallachia
1087:
1085:
1083:
1081:
219:
214:, he parted with the group and, together with
200:, Petrașcu was originally affiliated with the
1405:, Vol. II, Editura Minerva, Bucharest, 1998.
1233:
1231:
909:
907:
905:
903:
171:; December 5, 1859 – May 24, 1944), known as
8:
864:, and his subsequent rejection by the jury.
1240:, "Tabel cronologic", in Mateiu Caragiale,
692:. Negulescu pointed out that, in accusing
29:
18:
1301:, Cluj-Napoca & Iași, 2008, p.52-53.
571:. This coincided with a noted decline in
482:: alongside Petrașcu, these included the
331:" variant (akin to the names of medieval
290:Petrașcu authored a single novel, titled
832:This theme is a characteristic trait in
899:
345:Before the 1890s, N. Petrașcu attended
327:, which, the researcher argued, was a "
563:came in 1896, and saw the creation of
1028:Verismul italian și literatura română
179:
166:
7:
888:Ion Luca Caragiale's cultural legacy
536:, Petrașcu showed that he accepted
429:Mihail Eminescu, studiu critic 1892
884:, one of the first in literature (
14:
501:, confessed that he impressed by
357:. His other literary idol inside
319:—according to literary historian
283:. N. Petrașcu was the brother of
224:("Romanian Literature and Art").
35:Portrait of Nicolae Petrașcu by
365:(later recognized as Romania's
618:. The group spoke out against
168:[nikoˈla.eˈpetrovitʃʲ]
1:
1426:Museum of Romanian Literature
636:Charles Augustin Sainte-Beuve
569:Dimitrie C. Ollănescu-Ascanio
216:Dimitrie C. Ollănescu-Ascanio
1036:; retrieved October 10, 2007
862:Romanian Metropolitan Palace
765:Barbu Ștefănescu-Delavrancea
464:Figuri literare contemporane
446:, on topics surrounding the
444:Constantin Dobrogeanu-Gherea
410:Barbu Ștefănescu-Delavrancea
1248:, Bucharest, 1965, p.XVII.
856:"the daughter of a country
677:Like Vlahuță, he called on
184:) and commonly rendered as
1530:
1464:Romanian magazine founders
1365:, Bucharest, 1974, p.316.
581:Constantin Rădulescu-Motru
559:His definitive split with
505:following an 1890 trip to
1459:Romanian magazine editors
1454:Romanian literary critics
1246:Editura pentru Literatură
1136:Ornea, p.13, 127, 128-129
1045:Ornea, p.127-128, 134-135
781:Literatură și Artă Română
746:Literatură și Artă Română
565:Literatură și Artă Română
221:Literatură și Artă Română
28:
880:includes a portrayal of
594:, including Zamfirescu,
567:as a magazine headed by
534:Bogdan Petriceicu Hasdeu
532:and the Romantic writer
181:[peˈtraʃku,pəˈ-]
1509:Romanian male essayists
1479:Romanian male novelists
1034:University of Bucharest
821:and the visual artists
775:, the son of dramatist
237:Sociological positivism
164:Romanian pronunciation:
137:Sociological positivism
37:George Demetrescu Mirea
1100:Ornea, p.340, 345, 357
737:
412:, and an 1888 text on
287:, a renowned painter.
220:
1403:Junimea și junimismul
1242:Craii de Curtea-Veche
1189:Ornea, p.128-129, 340
1127:Ornea, p.128, 340-341
1075:Ornea, p.129, 134-135
842:1907 Peasants' Revolt
732:
662:", was equivalent to
600:Ștefan Octavian Iosif
400:figures Eminescu and
394:Dimitrie Bolintineanu
307:Early life and career
84:N. Petrașcu, Pĕtrașcu
1291:Investigații mateine
767:, and the physicist
648:Ferdinand Brunetière
640:Francesco de Sanctis
528:In contrast to both
416:and his only novel,
196:on major figures in
1469:Romanian memoirists
1428:, Bucharest, 2001.
1295:Biblioteca Apostrof
1216:Ornea, p.87, 89, 92
922:, Nr. 3/1928, p.424
800:Tipografia Bucovina
711:Mihail Dragomirescu
686:Convorbiri Literare
644:Bonaventura Zumbini
585:Mihail Dragomirescu
425:Convorbiri Literare
376:Convorbiri Literare
269:Mihail Dragomirescu
198:Romanian literature
1494:People from Tecuci
1474:Romanian novelists
1449:Romanian essayists
1421:Studii eminesciene
914:Garabet Ibrăileanu
882:Ion Luca Caragiale
823:Nicolae Grigorescu
777:Ion Luca Caragiale
761:Constantin Istrati
750:Anghel Demetriescu
738:
612:G. Dem. Teodorescu
499:Romanian Athenaeum
453:Garabet Ibrăileanu
351:Conservative Party
1395:, Bucharest, 1986
1355:Șerban Cioculescu
1315:978-973-46-1031-0
1307:978-973-9279-97-0
1054:Ornea, p.128, 129
789:Romanian Orthodox
698:Samson Bodnărescu
608:Alexandru Vlahuță
423:His work for the
402:Vasile Alecsandri
285:Gheorghe Petrașcu
273:Alexandru Vlahuță
247:thinkers such as
212:Duiliu Zamfirescu
204:literary society
160:Nicolae Petrovici
156:
155:
125:Literary movement
47:Nicolae Petrovici
1521:
1385:George Călinescu
1373:
1363:Editura Eminescu
1352:
1346:
1345:Călinescu, p.541
1343:
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1317:
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1198:Ornea, p.92, 119
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1162:Scriitori români
1155:
1149:
1148:Ornea, p.128-129
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1128:
1125:
1119:
1116:
1110:
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1066:Ornea, p.339-340
1064:
1055:
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1046:
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1025:Corina Popescu,
1024:
1020:
959:
958:Călinescu, p.542
956:
923:
919:Viața Românească
911:
838:George Călinescu
773:Mateiu Caragiale
759:, the physician
414:Constantin Mille
340:Pătrașcu cel Bun
335:figures such as
321:George Călinescu
296:Romanian Kingdom
279:, and architect
245:Western European
223:
183:
178:
173:Nicolae Petrașcu
170:
165:
75:
56:December 5, 1859
55:
53:
33:
23:Nicolae Petrașcu
19:
1529:
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1393:Editura Minerva
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719:Alexandru Grama
715:Aron Densușianu
690:P. P. Negulescu
664:cosmopolitanism
632:Émile Hennequin
628:Hippolyte Taine
596:Dimitrie Anghel
557:
492:Nicolae Xenopol
472:
309:
304:
265:P. P. Negulescu
253:Émile Hennequin
249:Hippolyte Taine
176:
163:
101:literary critic
73:
57:
51:
49:
48:
39:
24:
17:
12:
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793:I. E. Torouțiu
785:Gala Galaction
769:Ștefan Hepites
726:
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556:
550:
471:
468:
363:Mihai Eminescu
355:Titu Maiorescu
308:
305:
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277:Gala Galaction
261:Titu Maiorescu
259:intellectuals
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153:
148:
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1484:Determinists
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1416:Perpessicius
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1359:Caragialiana
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1282:
1277:Ornea, p.129
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1225:Ornea, p.346
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1091:Ornea, p.128
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74:(1944-05-24)
72:May 24, 1944
1504:1944 deaths
1499:1859 births
1207:Ornea, p.87
1158:Tudor Vianu
878:Marin Gelea
834:Marin Gelea
811:Marin Gelea
725:Later years
702:historicist
672:Renaissance
515:metaphysics
488:George Panu
448:pessimistic
438:figure and
373:mouthpiece
353:politician
292:Marin Gelea
275:, novelist
241:Determinism
233:Historicism
186:N. Petrașcu
151:Marin Gelea
141:Determinism
115:Nationality
1443:Categories
1379:References
660:aesthetics
542:Naturalism
503:Positivism
470:Transition
333:Wallachian
194:monographs
177:pronounced
133:Naturalism
93:Journalist
89:Occupation
52:1859-12-05
1489:Junimists
1327:Studii...
1287:Ion Vianu
1266:Studii...
1032:, at the
886:see also
757:Ion Mincu
735:Ion Mincu
624:patriotic
577:Junimists
546:socialist
523:Junimists
519:left-wing
480:Junimists
384:A. Costin
302:Biography
281:Ion Mincu
109:memoirist
1399:Z. Ornea
1254:18329822
870:snobbery
707:Junimism
620:Junimea'
573:Junimist
511:Idealism
476:Z. Ornea
436:Junimist
398:Junimist
396:and the
391:Romantic
381:pen name
371:Junimist
329:voivodal
325:Petrașcu
317:Petrașin
311:Born in
257:Junimist
190:Pĕtrașcu
119:Romanian
105:novelist
97:essayist
81:Pen name
1371:6890267
1299:Polirom
1170:7431692
1030:, 5.1.3
742:Junimea
694:Junimea
679:Junimea
655:Junimea
592:Junimea
561:Junimea
554:Junimea
538:Realist
530:Junimea
484:radical
440:Marxist
406:Junimea
359:Junimea
347:Junimea
229:Junimea
207:Junimea
129:Realism
1432:
1409:
1369:
1329:, p.35
1313:
1305:
1297:&
1268:, p.34
1252:
1168:
668:Berlin
646:, and
614:, and
337:Prince
313:Tecuci
267:, and
239:, and
59:Tecuci
895:Notes
858:boyar
521:anti-
507:Paris
1430:ISBN
1407:ISBN
1367:OCLC
1311:ISBN
1303:ISBN
1250:OCLC
1166:OCLC
825:and
783:was
717:and
583:and
540:and
490:and
361:was
251:and
69:Died
44:Born
891:).
342:).
188:or
1445::
1424:,
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1334:^
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