Subiect: After Theodor Aman 's death in 1891 and Gheorghe Tattarescu 's retirement in 1892, C. l. Stancescu became the new director of the Art Museum and the School of Fine Arts in Bucharest. In this capacity he was also president of the Living Artists' Exhibition. In mid February 1894 it was issued a new regulation for this yearly exhibit. Besides this, the new Athenaeum Palace - an imposing classic style building erected in the vicinity of the Royal Palace - was almost completed. There was the most appropriate and modem place for such kind of art exhibits. Consequently, from 1894 on, the Living Artists' Exhibitions – called now Salons from its Parisian model - were mounted there. But Stancescu's presidency produced animosities among artists. His way of dealing things favoring some of the participants and expelling others, produced great frictions in the artistic life. Some of the young artists sent a letter of protest against Stancescu 's abuses to the Ministry of Education. In the meantime, some of Stancescu 's followers and favorites sent a letter of appreciation on behalf of their protector. The matter was settled down by acquiring, at good prices, the paintings belonging to most of the protesters for the museum's collections. King Carol I also bought some paintings for his own collection. In this way, the king showed his appreciation for the exhibition and its organizer, encouraging in the meantime the young artists.
With the 1894 Salon, new trends were obvious in the Romanian painting. Landscapes and still lives, especially flowers, were much more preferred by both artists and the public than historic compositions, as was the case two decades ago, during Aman 's directorship.
Even though two years later, the "independents" seceded from the "officials" and mounted their own exhibition in front of the Salon, the 1894 exhibition sounded the beginning of a new stage in the Romanian art. (A.S.I.)