Sadoveanu is an occasional presence in the literary works of his fellow generation members.
His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another.
Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni").
Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere.
Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians").
The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare.

In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...].
The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]").
George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea."
Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions.

A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society.
Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures.
In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation.
Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence.
The result of his work was rejected with a similar label, and the sketches were for long not made available to the public.
Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness".
Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR).
A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977.
In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period.
During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble.

Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period.
However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu.
The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu.
The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them.
Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu).
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Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare.
In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions.
A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble.
Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 
Mihail Sadoveanu