The period also witnessed the arrival into art criticism of Symbolist poet Theodor Cornel. Although he died a young man in 1911, Cornel is credited with having introduced Romanians to the primitivist and exotic tendencies of post-Impressionism, and to have been among the first authoritative critics in the country to discuss such new phenomena as Cubism or Abstraction, sometimes in competition with the Moldavian Expressionist painter Arthur Segal. This context produced the first works by Romanian primitivists: Cecilia Cuțescu-Storck, Friedrich Storck, Ion Theodorescu-Sion, and, foremost among them, sculptor Constantin Brâncuși. Of this group, Brâncuși did not generally follow the Symbolist guidelines, and instead reached international fame with an original semi-abstract modernist style influenced by Romanian folklore. Theodorescu-Sion also discarded all forms of Symbolism by the end of the decade, and incorporated into his art the solid shape painting of Paul Cézanne, while Cuțescu-Storck was still a classical Symbolist in 1910. With draftsman Ary Murnu, she contributed Art Nouveau illustrations to the "Tinerimea" catalogs. By 1911, "Tinerimea" had also received into its ranks the painter Theodor Pallady, whose debut works were dominated by Symbolist imagery, but who was later a prominent anti-Symbolist. The new generation of Romanian Symbolist artists also included several sculptors who, like Brâncuși, trained with French master Auguste Rodin: Horia Boambă, Teodor Burcă, Anghel Chiciu, Filip Marin, Ion Jalea, Dimitrie Paciurea, Alexandru Severin. Boambă earned a short-lived notoriety with works contrasting delicate figures with rough surfaces, while Marin alternated academic busts with Symbolist statuettes. A poet as well as sculptor, Severin was close to Alexandru Macedonski, with whom he founded "Cenaclul Idealist" ("The Idealist Club"), also including painters Alexis Macedonski, Leon Alexandru Biju and Dimitrie Mihăilescu. His sculptures, notably exhibited at the Paris Salon in 1908, displayed his interest in the mysterious or expressed his admiration for Rodin. The young Paciurea was mainly adapting Rodin's Impressionist themes to the Romanian historist school, and only later became a truly Symbolist artist.