This essay examines the representational trope of the Gypsy Girl in the 2017 classical paintings exhibition: Images of Gypsies in the collection of the Art Museum of Cluj Napoca. Through cultural studies lens, I look into some of the most well-known classical Romanian paintings within their genealogy in the Western ones. Then, I argue that the Gypsy Girl figure is a particular recurent trope, shared by painters and curators from a typical modern position. The essay draws a line between the 19th century Orientalist modern European painters, then the views of the Romanian classical funding fathers of the classical painting and finally the very present Romanian gypsylorist curatorial ideas. Its concludes that the colonial and national ideology shared by all these elite actors alows the expression of an asymetrical relation between some imagined Us and Them, taking a well-known sexist male gaze form, as much as an priviledged position who looks at an exotic „object”.