The contemporary metalinguistic and communicative approach to art imposed a semiotic visualization on it, which reveals the relationship between the work of art and the receiver, the particularities of the artistic language and the types of plastic signs, their associative and significant valences. Painting, from a semiotic perspective, is a system of significant signs and practices, a set of languages, symbols and meanings integrated into an artistic message. The specificity of the pictorial language consists in the content of the plastic signs (figurative and pictorial), which have their own “semantic language” through the multiple meanings of the plastic signs: colors, shapes, lines, spots, textures, etc. The expressive force of the plastic sign depends on its relations with the elements present in the painting. The painting contains all kinds of signs: the clue, the icon, the symbol. In a semiotic pictorial representation all signs have the right to exist. The pictorial artistic image involves the use of chromatic symbolism, shapes, meanings of plastic signs, specific associations, archetypal symbolic structures, cultural codes, imaginary and illusory elements. Culture incorporates these signs and codes into a wide universe, creating collisions and linking them „interdisciplinary”, thus obtaining universal sense and meanings.