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Marcel Janco

February 16, 2024

Marcel Janco (German: [maʁˈsɛl ˈjaŋkoː], French: [maʁsɛl ʒɑ̃ko]; common rendition[a] of the Romanian name Marcel Hermann Iancu[1] [marˈtʃel ˈherman ˈjaŋku]; 24 May 1895 – 21 April 1984) was a Romanian and Israeli visual artist, architect and art theorist. He was the co-inventor of Dadaism and a leading exponent of Constructivism in Eastern Europe. In the 1910s, he co-edited, with Ion Vinea and Tristan Tzara, the Romanian art magazine Simbolul. Janco was a practitioner of Art Nouveau, Futurism and Expressionism before contributing his painting and stage design to Tzara's literary Dadaism. He parted with Dada in 1919, when he and painter Hans Arp founded a Constructivist circle, Das Neue Leben.

Reunited with Vinea, he founded Contimporanul, the influential tribune of the Romanian avant-garde, advocating a mix of Constructivism, Futurism and Cubism. At Contimporanul, Janco expounded a "revolutionary" vision of urban planning. He designed some of the most innovative landmarks of downtown Bucharest. He worked in many art forms, including illustration, sculpture and oil painting.

Janco was one of the leading Romanian Jewish intellectuals of his generation. Targeted by antisemitic persecution before and during World War II, he emigrated to the British Mandate for Palestine in 1941. He won the Dizengoff Prize and Israel Prize, and was a founder of Ein Hod, a utopian art colony.

Biography edit

Early life edit

Marcel Janco was born on 24 May 1895 in Bucharest to an upper middle class Jewish family.[2] His father, Hermann Zui Iancu, was a textile merchant. His mother, Rachel née Iuster, was from Moldavia.[3] The couple lived outside Bucharest's Jewish quarter, on Decebal Street.[4] He was the oldest of four children. His brothers were Iuliu (Jules) and George. His sister, Lucia, was born in 1900.[4] The Iancus moved from Decebal to Gândului Street, and then to Trinității, where they built one of the largest home-and-garden complexes in early 20th century Bucharest.[5] In 1980, Janco revisited his childhood years, writing: "Born as I was in beautiful Romania, into a family of well-to-do people, I had the fortune of being educated in a climate of freedom and spiritual enlightenment. My mother, [...] possessing a genuine musical talent, and my father, a stern man and industrious merchant, had created the conditions favorable for developing all of my aptitudes. [...] I was of a sensitive and emotional nature, a withdrawn child who was predisposed to dreaming and meditating. [...] I grew up [...] dominated by a strong sense of humanity and social justice. The existence of disadvantaged, weak, people, of impoverished workers, of beggars, hurt me and, when compared to our family's decent condition, awoke in me a feeling of guilt."[6]

Janco attended Gheorghe Șincai School and studied drawing art with the Romanian Jewish painter and cartoonist Iosif Iser.[7] In his teenage years, the family traveled widely, from Austria-Hungary to Switzerland, Italy and the Netherlands.[8] At Gheorghe Lazăr High School, he met several students who would become his artistic companions: Tzara (known then as S. Samyro), Vinea (Iovanaki), writers Jacques G. Costin and Poldi Chapier.[9] Janco also became friends with pianist Clara Haskil, the subject of his first published drawing, which appeared in Flacăra magazine in March 1912.[10][11]

As a group, the students were under the influence of Romanian Symbolist clubs, which were at the time the more radical expressions of artistic rejuvenation in Romania. Marcel and Jules Janco's first moment of cultural significance took place in October 1912, when they joined Tzara in editing the Symbolist venue Simbolul, which managed to receive contributions from some of Romania's leading modern poets, from Alexandru Macedonski to Ion Minulescu and Adrian Maniu. The magazine nevertheless struggled to find its voice, alternating modernism with the more conventional Symbolism.[12] Janco was perhaps the main graphic designer of Simbolul, and he may even have persuaded his wealthy parents to support the venture (which closed down in early 1913).[13] Unlike Tzara, who refused to look back on Simbolul with anything but embarrassment, Janco proudly regarded it as his first participation in artistic revolution.[14]

After the Simbolul moment, Marcel Janco worked at Seara daily, where he took further training in draftsmanship.[15] The newspaper took him in as illustrator, probably as a result of intercessions from Vinea, its literary columnist.[10] Their Simbolul colleague Costin joined them as Seara's cultural editor.[10][16] Janco was also a visitor of the literary and art club meeting at the home of controversial politician and Symbolist poet Alexandru Bogdan-Pitești, who was for a while the manager of Seara.[17]

It is possible that, during those years, Tzara and Janco first came to hear and be influenced by the absurdist prose of Urmuz, the lonesome civil clerk and amateur writer who would later become the hero of Romanian modernism.[18] Years later, in 1923, Janco drew an ink portrait of Urmuz.[19] In maturity, he also remarked that Urmuz was the original rebel figure in Romanian literature.[20] In the 1910s, Janco was also interested in the parallel development of French literature, and read passionately from such authors as Paul Verlaine and Guillaume Apollinaire.[21] Another immediate source of inspiration for his attitude on life was provided by Futurism, an anti-establishment movement created in Italy by poet Filippo Tommaso Marinetti and his artists' circle.[22]

Swiss journey and Dada events edit

 
Hugo Ball in the "bishop dress", 1916

Janco eventually decided to leave Romania, probably because he wanted to attend international events such as the Sonderbund exhibit, but also because of quarrels with his father.[15] In quick succession after the start of World War I, Marcel, Jules and Tzara left Bucharest for Zürich. According to various accounts, their departure may have been either a search for new opportunities (abundant in cosmopolitan Switzerland)[23] or a discreet pacifist statement.[24] Initially, the Jancos were registered with the University of Zurich, where Marcel took Chemistry courses, before applying to study architecture at the Federal Institute of Technology.[25] His real ambition, later confessed, was to pursue more training in painting.[6][26] The two brothers were soon joined by younger Georges Janco, but all three were left without any financial support when the war began hampering Europe's trade routes; until October 1917, both Jules and Marcel (who found it impossible to sell his paintings) earned a living as cabaret performers.[26][27] Marcel was noted for performing selections from Romanian folklore and playing the accordion,[28] as well as for his rendition of chansons.[10][26] It was during this time that the young artist and his brothers began using the consecrated version of the surname Iancu, probably in hopes that it would sound more familiar to foreigners.[29]

In this context, the Romanians came into contact with Hugo Ball and the other independent artists plying their trade at the Malerei building, which soon after became known as Cabaret Voltaire. Ball later recalled that four "Oriental" men introduced themselves to him late after a show—the description refers to Tzara, the older Jancos and, probably, the Romanian painter Arthur Segal.[30] Ball found the young painter especially pleasant, and was impressed that, unlike his peers, Janco was melancholy rather than ironic; other participants remember him as a very handsome presence in the group, and he allegedly had the reputation of a "lady-killer".[31]

Accounts of what happened next differ, but it is presumed that, shortly after the four new participants were accepted, the performances became more daring, and the transition was made from Ball's Futurism to the virulent anti-art performances of Tzara and Richard Huelsenbeck.[32] With help from Segal and others, Marcel Janco was personally involved in decorating the Cabaret Voltaire.[28] Its hectic atmosphere would inspire Janco to create an eponymous oil painting, dated 1916 and believed to have been lost.[33] He was a major contributor to the cabaret's events: he notably carved the grotesque masks worn by performers on stilts, gave "hissing concerts" and, in unison with Huelsenbeck and Tzara, improvised some of the first (and mostly onomatopoeic) "simultaneous poems" to be read on stage.[34]

His work with masks became especially influential, opening up a new field of theatrical exploration for the Dadaists (as the Cabaret Voltaire crew began calling themselves), and earning special praise from Ball.[35] Contrary to Ball's later claim of authorship, Janco is also credited with having tailored the "bishop dress", another one of the iconic products of early Dadaism.[36] The actual birth of "Dadaism", at an unknown date, later formed the basis of disputes between Tzara, Ball, and Huelsenbeck. In this context, Janco is cited as a source for the story according to which the invention of the term "Dada" belonged exclusively to Tzara.[37] Janco also circulated stories according to which their shows were attended for informative purposes by communist theorist Vladimir Lenin[38] and psychiatrist Carl Jung.[26]

His various contributions were harnessed by Dada's international effort of self-promotion. In April 1917, he welcomed the Dada affiliation of Switzerland's own Paul Klee, calling Klee's contribution to the Dada exhibit a "great event".[39] His mask designs were popular beyond Europe, and inspired similar creations by Mexico's Germán Cueto, the "Stridentist" painter-puppeteer.[40] The Dadaist popularization effort received lukewarm responses in Janco's native country, where the traditionalist press expressed alarm at being confronted with Dada precepts.[41] Vinea himself was ambivalent about the activities of his two friends, preserving a link with poetic tradition which made his publication in Tzara's press impossible.[42] In a letter to Janco, Vinea spoke about having personally presented one of Janco's posters to modernist poet and art critic Tudor Arghezi: "[He] said, critically, that you cannot say whether a person is talented or not on the basis of only one drawing. Rubbish."[43]

Exhibited at the Dada group shows, Janco also illustrated the Dada advertisements, including an April 1917 program which features his sketches of Ball, Tzara and Ball's actress wife Emmy Hennings.[44] The event featured his production of Oskar Kokoschka's farce Sphinx und Strohmann, for which he was also the stage designer, and which was turned into one of the most notorious among Dada provocations.[45] Janco was the director and mask designer for the Dada production for another one of Kokoschka's plays, Job.[46] He also returned as Tzara's illustrator, producing the linocuts to The First Heavenly Adventure of Mr. Antipyrine, having already created the props for its theatrical production.[47]

"Two-speeds" Dada and Das Neue Leben edit

 
Viking Eggeling's drawings for a Generalbass der Malerei ("General Basis of Painting"), 1918

As early as 1917, Marcel Janco began taking his distance from the movement he had helped to generate. His work, in both woodcut and linocut, continued to be used as the illustration to Dada almanacs for another two years,[48] but he was more often than not in disagreement with Tzara, while also trying to diversify his style. As noted by critics, he found himself split between the urge to mock traditional art and the belief that something just as elaborate needed to take its place: in the conflict between Tzara's nihilism and Ball's art for art's sake, Janco tended to support the latter.[49] In a 1966 text, he further assessed that there were "two speeds" in Dada, and that the "spiritual violence" phase had eclipsed the "best Dadas", including his fellow painter Hans Arp.[50]

Janco recalled: "We [Janco and Tzara] couldn't agree any more on the importance of Dada, and the misunderstandings accumulated."[51] There were, he noted, "dramatic fights" sparked by Tzara's taste for "bad jokes and scandal".[52] The artist preserved a grudge, and his retrospective views on Tzara's role in Zürich are often sarcastic, depicting him as an excellent organizer and vindictive self-promoter, but not truly a man of culture;[53] a few years into the scandal, he even started a rumor that Tzara was illegally trading in opium.[54] As noted in 2007 by Romanian literary historian Paul Cernat: "All the efforts by Ion Vinea to reunite them [...] would be in vain. Iancu and Tzara would ignore (or banter) each other for the rest of their lives".[55] With this split, there came a certain classicization in Marcel Janco's discourse. In February 1918, Janco was even invited to lecture at his alma mater, where he spoke about modernism and authenticity in art as related phenomena, drawing comparisons between the Renaissance and African art.[56] However, having decided to focus on his other projects, Janco nearly abandoned his studies, and failed his final exam.[57]

In this context, he moved closer to the cell of post-Dada Constructivists exhibiting collectively as Neue Kunst ("New Art")—Arp, Fritz Baumann, Hans Richter, Otto Morach.[58] As a result, Janco was made a member of Das Neue Leben faction, which supported an educational approach to modern art, coupled with socialist ideals and Constructivist aesthetics.[59] In its art manifesto, the group declared its ideal of "rebuild[ing] the human community" in preparation for the end of capitalism.[60] Janco was even affiliated with Artistes Radicaux, a more politically inclined section of Das Neue Leben, where his colleagues included other former Dadas: Arp, Hans Richter, Viking Eggeling.[61] The Artistes Radicaux were in touch with the German Revolution, and Richter, who worked for the short-lived Bavarian Soviet Republic, even offered Janco and the others virtual teaching positions at the Academy of Fine Arts under a workers' government.[62]

Between Béthune and Bucharest edit

Janco made his final contribution to the Dada adventure in April 1919, when he designed the masks for a major Dada event organized by Tzara at the Saal zur Kaufleutern, and which degenerated into an infamous mass brawl.[63] By May, he was mandated by Das Neue Leben to create and publish a journal for the movement. Although this never saw print, the preparations placed Janco in contact with the representatives of various modernist currents: Arthur Segal, Walter Gropius, Alexej von Jawlensky, Oscar Lüthy and Enrico Prampolini.[64] This period also witnessed the start of a friendly relationship between Janco and the Expressionist artists who published in Herwarth Walden's magazine Der Sturm.[65]

A little more than a year after the end of war, in December 1919, Marcel and Jules left Switzerland for France. After passing through Paris, the painter was in Béthune, where he married Amélie Micheline "Lily" Ackermann, in what was described as a gesture of fronde against his father. The girl was a Swiss Catholic of lowly condition, who had first met the Jancos at Das Neue Leben.[66] Janco was probably in Béthune for a longer while: he was listed as one of those considered for helping to rebuild war-affected French Flanders, redesigned the Chevalier-Westrelin store in Hinges, and was perhaps the co-owner of an architectural enterprise, Ianco & Déquire.[67] It is not unlikely that Janco followed with curiosity the activities of Dada's Parisian cell, which were overseen by Tzara and his pupil André Breton, and he is known to have impressed Breton with his own architectural projects.[68] He was also announced, with Tzara, as a contributor to the post-Dada magazine L'Esprit Nouveau, published by Paul Dermée.[69] Nevertheless, Janco was invited to exhibit elsewhere, rallying with Section d'Or, a Cubist collective.[68]

Late in 1921, Janco and his wife left for Romania, where they had a second marriage to seal their union in front of familial disputes.[70] Janco was soon reconciled with his parents, and, although still unlicensed as an architect, began receiving his first commissions, some of which came from within his own family.[71][72] His first known design, constructed in 1922 and officially registered as the work of one I. Rosenthal, is a group of seven alley houses, 3 pairs and corner residence, on his father Hermann Iancu's property, at 79 Maximilian Popper Street (prev Trinității Street 29); one of these became his new home. Essentially traditional in style, they are also somewhat stylised, recalling the plainness of the English Arts & Crafts or the Czech 'Cubist' style.[73]

Soon after making his comeback, Marcel Janco reconnected himself with the local avant-garde salons, and had his first Romanian exhibits, at the Maison d'Art club in Bucharest.[74] His friends and collaborators, among them actress Dida Solomon and journalist-director Sandu Eliad, would describe him as exceptionally charismatic and knowledgeable.[75] In December 1926, he was present at the Hasefer Art Show in Bucharest.[76] Around that year, Janco took commissions as an art teacher at his studio in Bucharest—in the words of his pupil, the future painter Hedda Sterne, these were informal: "We were given easels, etc. but nobody looked, nobody advised us."[77]

Contimporanul beginnings edit

From his position as Constructivist mentor and international artist, Janco proceeded to network between Romanian modernist currents, and joined up with his old colleague Vinea. Early in 1922, the two men founded a political and art magazine, the influential Contimporanul—historically, the longest-lived venue of the Romanian avant-garde.[78] Janco was abroad that year, as one of guests at the First Constructivist Congress, convened by Dutch artist Theo van Doesburg in Düsseldorf.[79] He was in Zürich around 1923, receiving the visit of a compatriot, writer Victor Eftimiu, who declared him a hard-working artist able to reconcile the modern with the traditional.[80]

Contimporanul followed Janco's Constructivist affiliation. Initially a venue for socialist satire and political commentary, it reflected Vinea's strong dislike for the ruling National Liberal Party.[81] However, by 1923, the journal became increasingly cultural and artistic in its revolt, headlining with translations from van Doesburg and Breton, publishing Vinea's own homage to Futurism, and featuring illustrations and international notices which Janco may have handpicked himself.[82] Some researchers have attributed the change exclusively to the painter's growing say in editorial policy.[83][84] Janco was at the time in correspondence with Dermée, who was to contribute the Contimporanul anthology of modern French poetry,[85] and with fellow painter Michel Seuphor, who collected Janco's Constructivist sculptures.[86] He maintained a link between Contimporanul and Der Sturm, which republished his drawings alongside the contributions of various Romanian avant-garde writers and artists.[87] The reciprocal popularization was taken up by Ma, the Vienna-based tribune of Hungarian modernists, which also published samples of Janco's graphics.[88] Owing to Janco's resentments and Vinea's apprehension, the magazine never covered the issuing of new Dada manifestos, and responded critically to Tzara's new versions of Dada history.[89]

Marcel Janco also took charge of Contimporanul's business side, designing its offices on Imprimerie Street and overseeing the publication of postcards.[90] Over the years, his own contributions to Contimporanul came to include some 60 illustrations, some 40 articles on art and architectural topics, and a number of his architectural designs or photographs of buildings erected from them.[91] He oversaw one of the journal's first special issues, dedicated to "Modern Architecture", and notably hosting his own contributions to architectural theory, as well as his design of a "country workshop" for Vinea's use.[92] Other issues also featured his essay on film and theater, his furniture designs, and his interview with the French Cubist Robert Delaunay.[93] Janco was also largely responsible for the Contimporanul issue on Surrealism, which included his interviews with writers such as Joseph Delteil, and his inquiry about the publisher Simon Krà.[94]

Together with Romanian Cubist painter M. H. Maxy, Janco was personally involved in curating the Contimporanul International Art Exhibit of 1924.[95] This event reunited the major currents of Europe's modern art, reflecting Contimporanul's eclectic agenda and international profile. It hosted samples of works by leading modernists: the Romanians Segal, Constantin Brâncuși, Victor Brauner, János Mattis-Teutsch, Milița Petrașcu, alongside Arp, Eggeling, Klee, Richter, Lajos Kassák and Kurt Schwitters.[96] The exhibit included samples of Janco's work in furniture design, and featured his managerial contribution to a Dada-like opening party, co-produced by him, Maxy, Vinea and journalist Eugen Filotti.[97] He was also involved in preparing the magazine's theatrical parties, including the 1925 production of A Merry Death, by Nikolai Evreinov; Janco was the set and costume designer, and Eliad the director.[98] An unusual echo of the exhibit came in 1925, when Contimporanul published a photograph of Brâncuși's Princess X sculpture. The Romanian Police saw this as a sexually explicit artwork, and Vinea and Janco were briefly taken into custody.[99] Janco was a dedicated admirer of Brâncuși, visiting him in Paris and writing in Contimporanul about Brâncuși's "spirituality of form" theories.[100]

In their work as cultural campaigners, Vinea and Janco even collaborated with 75 HP, a periodical edited by poet Ilarie Voronca, which was nominally anti-Contimporanul and pro-Dada.[101] Janco was also an occasional presence in the pages of Punct, the Dadaist-Constructivist paper put out by the socialist Scarlat Callimachi. It was here that he notably published articles on architectural styles and a lampoon, in French and German, titled T.S.F. Dialogue entre le bourgeois mort et l'apôtre de la vie nouvelle ("Cablegram. The Dialogue between a Dead Bourgeois and the Apostle of New Living").[83][102] In addition, his graphic work was popularized by Voronca's other magazine, the Futurist tribune Integral.[103] Janco was also called upon by authors Ion Pillat and Perpessicius to illustrate their Antologia poeților de azi ("The Anthology of Present-Day Poets"). His portraits of the writers included, drawn in sharply modernist style, were received with amusement by the traditionalist public.[104] In 1926, Janco further antagonized the traditionalists by publishing sensual drawings for Camil Baltazar's book of erotic poems, Strigări trupești lîngă glezne ("Bodily Exhortations around the Ankles").[105]

Functionalist breakthrough edit

Some time in the late 1920s, Janco set up an architectural studio Birou de Studii Moderne (Office of Modern Studies), a partnership with his brother Jules (Iulius), a venture often identified by the name Marcel Iuliu Iancu, combining the two brothers as one.[106] Heralding the change of architectural tastes with his articles in Contimporanul, Marcel Janco described Romania's capital as a chaotic, inharmonious, backward town, in which the traffic was hampered by carts and trams, a city in need of Modernist revolution.[107]

Profiting from the building boom of Greater Romania, and the rising popularity of functionalism, Janco's Birou received commissions from 1926 onwards that were occasional and small-scale. Compared with mainstream functionalist architects like Horia Creangă, Duiliu Marcu or Jean Monda,[108] the Jancos had a decisive role in popularizing the functionalist versions of Constructivism or Cubism, designing the first examples of this new stylistic approach to be built in Romania. The first clear, though unheralded, expression of Modernism in Romania, was the construction in 1926 of a small apartment building near his earlier houses, also built for his father Herman, with an apartment for Herman, one for Marcel as well as his rooftop studio. The structure simply follows the curved line of the corner lot, the severe elevations devoid of decoration, enlivened only by a triangular bay window and balcony above, and a scheme of different colours (now lost) applied to the three wall areas differentiated by slight variations on depth.

A major breakthrough was his Villa for Jean Fuchs, built in 1927 on Negustori Street. Its cosmopolitan owner allowed the artist complete freedom in designing the building, and a budget of 1 million lei, and he created what is often described as the first Constructivist (and therefore Modernist) structure in Bucharest.[109][71] The design was quite unlike anything seen in Bucharest before, the front facade composed of complex overlapping, projecting and receding rectangular volumes, horizontal and corner windows, three circular porthole windows, and stepped flat roof areas including a rooftop lookout. The result caused a stir in the neighborhood, and the press found it to be reminiscent of a "morgue" and a "crematorium".[71] The architect and his patrons were undeterred by such reactions, and the Janco firm received commissions to build similar villas.

Until 1933, when Marcel Janco finally received his certification, his designs continued to be officially recorded under different names, most usually attributed to a Constantin Simionescu.[71] This had little effect on the Birou's output: by the time of his last known design in 1938, Janco and his brother are thought to have designed some 40 permanent or temporary structures in Bucharest, many in the wealthier northern residential districts of Aviatorilor and Primaverii, but by far the largest concentration in or to the north of the Jewish Quarter, just the east of the old town centre, reflecting the family and community ties of many of his commissions.[71]

A series of modernist villas for sometimes wealthy clients followed despite the Fuchs controversy.[110] The Villa Henri Daniel (1927, demolished) on Strada Ceres returned to the almost unadorned flat facade, enlivened by a play of horizontal and vertical lines, while the Maria Lambru Villa (1928), on Popa Savu Street, was a simplified version of the Fuchs design. The Florica Chihăescu house on Șoseaua Kiseleff (1929) is surprisingly formal with a central porch below strip windows, and also marks collaboration with Milița Petrașcu from the 1924 exhibition who provided some statuary (now lost).[111] The Villa Bordeanu (1930) on Labirint Street plays with symmetrical formality while the Villa Paul Iluta (1931, altered) employs bold rectangular volumes over three floors, as does the Paul Wexler Villa (1931), on Silvestru and Grigore Mora streets.[71] The Jean Juster Villa (1931) nearby at Strada Silvestru 75 combines the bold rectangular volumes with a projecting semi-circular one. Another project was a house for his Simbolul friend Poldi Chapier; located on Ipătescu Alley and finished in 1929,[71] this is occasionally described as "Bucharest's first Cubist lodging", even though the Villa Fuchs was two year earlier.[112] In 1931 he designed his first tenement/apartment building at Strada Caimatei 20, a small stack of 3 apartments of boldly projecting forms, developed himself for his family with other floors to rent, in the name of his wife Clara Janco. It is thought the studios for his Birou were on the top floor, and the design was published in Contimporanul in 1932.[113] Two more followed in 1933 on Strada Paleologu next to each other, simpler in conception, with a second one in his wife's name, and one for Jaques Costin - which features a bas relief panel of women working with wool by Militia Pătraşcu by the door.[114] These projects are joined by a private sanatorium of Predeal, Janco's only design outside of Bucharest. Built in 1934[115] at the base of a wooded hill, it has the sweeping horizontals of international streamlined Modernism, with Janco's innovation of diagonally placed rooms creating a striking zigzag effect.[109]

Janco had one daughter from his marriage to Lily Ackermann, who signed her name Josine Ianco-Starrels (b. 1926), and was raised a Catholic.[116] Her sister Claude-Simone had died in infancy.[117] By the mid-1920s, Marcel and Lily Janco were estranged: already by the time of their divorce (1930), she was living by herself in a Brașov home designed by Janco.[117] The artist remarried to Clara "Medi" Goldschlager, the sister of his old friend Jacques G. Costin. The couple had a girl, Deborah Theodora ("Dadi" for short).[117]

With his new family, Janco lived a comfortable life, traveling throughout Europe and spending his summer vacations in the resort town of Balchik.[117] The Jancos and the Costins also shared ownership of a country estate: known as Jacquesmara,[118] it was located in Budeni-Comana, Giurgiu County.[6][10] The house is especially known for hosting Clara Haskil during one of her triumphant returns to Romania.[10]

Between Contimporanul and Criterion edit

Janco was still active as the art editor of Contimporanul during its final and most eclectic series of 1929,[119] when he took part in selecting new young contributors, such as publicist and art critic Barbu Brezianu.[120] At that junction, the magazine triumphantly published a "Letter to Janco", in which the formerly traditionalist architect George Matei Cantacuzino spoke about his colleague's decade-long contribution to the development of Romanian functionalism.[71][121] Beyond his Contimporanul affiliation, Janco rallied with the Bucharest collective Arta Nouă ("New Art"), also joined by Maxy, Brauner, Mattis-Teutsch, Petrașcu, Nina Arbore, Cornelia Babic-Daniel, Alexandru Brătășanu, Olga Greceanu, Corneliu Michăilescu, Claudia Millian, Tania Șeptilici and others.[122]

Janco and some other regulars of Contimporanul also reached out to the Surrealist faction at unu review—Janco is notably mentioned as a "contributor" on the cover of unu, Summer 1930 issue, where all 8 containing pages were purposefully left blank.[123] Janco prepared woodcuts for the first edition of Vinea's novel Paradisul suspinelor ("The Paradise of Sobs"), printed with Editura Cultura Națională in 1930,[124][125] and for Vinea's poems in their magazine versions.[126] His drawings were used in illustrating two volumes of interviews with writers, compiled by Contimporanul sympathizer Felix Aderca,[127] and Costin's only volume of prose, the 1931 Exerciții pentru mâna dreaptă ("Right-handed Exercises").[124][128]

Janco attended the 1930 reunion organized by Contimporanul in honor of the visiting Futurist Filippo Tommaso Marinetti, and gave a welcoming speech.[129] Marinetti was again praised by the Contimporanul group (Vinea, Janco, Petrașcu, Costin) in February 1934, in an open letter stating: "We are soldiers of the same army."[130] These developments created a definitive split in Romania's avant-garde movement, and contributed to Contimporanul's eventual fall: the Surrealists and socialists at unu condemned Vinea and the rest for having established, through Marinetti, a connection with the Italian fascists.[131] After the incidents, Janco's art was openly questioned by unu contributors such as Stephan Roll.[132]

Although Contimporanul went bankrupt, an artistic faction of the same name survived until 1936.[133] During the interval, Janco found other backers in the specialized art and architecture magazines, such as Orașul, Arta și Orașul, Rampa, Ziarul Științelor și al Călătoriilor.[71] In 1932, his villa designs were included by Alberto Sartoris in his guide to modern architecture, Gli elementi dell'architettura razionale.[71][134] The early 1930s also witnessed Janco's participation with the literary and art society Criterion, whose leader was philosopher Mircea Eliade. The group was mostly a venue Romania's intellectual youth, interested in redefining the national specificity around modernist values, but also offered a venue for dialogue between the far right and the far left.[135] With Maxy, Petrașcu, Mac Constantinescu, Petre Iorgulescu-Yor, Margareta Sterian and others, Janco represented the art collective at Criterion, which, in 1933, exhibited at Dalles Hall, Bucharest.[136] The same year, Janco erected a blockhouse for Costin (Paleologu Street, 5), which doubled as his own working address and the administrative office of Contimporanul.[71]

From 1929, Janco's efforts to reform the capital received administrative support from Dem. I. Dobrescu, the left-wing Mayor of Bucharest.[137] 1934 was the year when Janco returned as architectural theorist, with Urbanism, nu romantism ("Urbanism, Not Romanticism"), an essay in the review Orașul. Janco's text restated the need and opportunity for modernist urban planning, especially in Bucharest.[71] Orașul, edited by Eliad and writer Cicerone Theodorescu, introduced him as a world-famous architect and "revolutionary", praising the diversity of his contributions.[71] In 1935, Janco published the pamphlet Către o arhitectură a Bucureștilor ("Toward an Architecture of Bucharest"), which recommended a "utopian" project to solve the city's social crisis.[71][75] Like some of his Contimporanul colleagues, he was by then collaborating with Cuvântul Liber, the self-styled "moderate left-wing review" and with Isac Ludo's modernist magazine, Adam.[138]

The mid-1930s was his most prolific period as an architect, designing more villas, more small apartment buildings, and larger ones as well.[110] His Bazaltin Company headquarters, a mixed use project os offices and apartments that rose up to a topmost 9th floor on Jianu Square, his largest and most prominent, and still most well known (albeit abandoned), was built in 1935. The Solly Gold apartments on a corner on Hristo Botev Avenue (1934) is his best known smaller block, with interlocking angular volumes and balconies on all five sides visible, a double level apartment on the top, and a panel depicting Diana by Militia Pătraşcu by the door. Another well known design is the David Haimovici (1937) on Strada Olteni, its well kept smooth grey walls outlined in white, and a Mediterranean pergola on the top floor. The seven level Frida Cohen tower (1935) dominates a small roundabout on Stelea Spătarul Street with its curved balconies, while a six level one on Luchian Street, probably a real estate investment of his own,[139] is more restrained, with long strip windows the main feature, and another panel by Milita Petraşcu in the lobby. Villas included one for Florica Reich (1936) on Grigore Mora, a simple rectangular volume with a double-height corner cut-out topped by an inventive gridded glass roof, and one for Hermina Hassner (1937), almost square in plan, and with almost the opposite effect, a first floor corner balcony wall pierced by a grid of small circular openings.[71] Probably commissioned by Mircea Eliade, in 1935 Janco also designed the Alexandrescu Building, a severe four storey tenement for Eliade's sister and her family.[71] One of his last projects was a collaboration with Milita Petrascu for her family home and studio, the Villa Emil Pătraşcu (1937) at Pictor Ion Negulici Street 19, a boldly blocky design.[140]

Together with Margareta Sterian, who became his disciple, Janco was working on artistic projects involving ceramics and fresco.[141] In 1936, some works by Janco, Maxy and Petrașcu represented Romania at the Futurist art show in New York City.[142] Throughout the period, Janco was still on demand as a draftsman: in 1934, his depiction of poet Constantin Nissipeanu opened the first print of Nisspeanu's Metamorfoze;[143] in 1936, he published a posthumous portrait of writer Mateiu Caragiale, to illustrate the Perpessicius edition of Caragiale's poems.[144] His prints also served to illustrate Sadismul adevărului ("The Sadism of Truth"), written by unu founder Sașa Pană.[145]

Persecution and departure edit

 
Janco and friends in the Hula Valley, 1938

By that time, the Janco family was faced with the rise of antisemitism, and alarmed by the growth of fascist movements such as the Iron Guard. In the 1920s, the Contimporanul leadership had sustained a xenophobic attack from the traditionalist review Țara Noastră. It cited Vinea's Greek origins as a cause for concern,[146] and described Janco as the "painter of the cylinder", and an alien, cosmopolitan, Jew.[147] That objection to Janco's work, and to Contimporanul in general, was also taken up in 1926 by the anti-modernist essayist I. E. Torouțiu.[148] Criterion itself split in 1934, when some of its members openly rallied with the Iron Guard, and the radical press accused the remaining ones of promoting pederasty through their public performances.[149] Josine was expelled from Catholic school in 1935, the reason invoked being that her father was a Jew.[150]

For Marcel Janco, the events were an opportunity to discuss his own assimilation into Romanian society: in one of his conferences, he defined himself as "an artist who is a Jew", rather than "a Jewish artist".[150] He later confessed his dismay at the attacks targeting him: "nowhere, never, in Romania or elsewhere in Europe, during peacetime or the cruel years of [World War I], did anyone ask me whether I was a Jew or... a kike. [...] Hitler's Romanian minions managed to change this climate, to turn Romania into an antisemitic country."[6] The ideological shift, he recalled, destroyed his relationships with the Contimporanul poet Ion Barbu, who reportedly concluded, after admiring a 1936 exhibit: "Too bad you're a kike!"[6] At around that time, pianist and fascist sympathizer Cella Delavrancea also assessed that Janco's contribution to theater was the prime example of "Jewish" and "bastard" art.[151]

When the antisemitic National Christian Party took power, Janco was coming to terms with the Zionist ideology, describing the Land of Israel as the "cradle" and "salvation" of Jews the world over.[6][152] At Budeni, he and Costin hosted Betar paramilitaries, who were attempting to organize a Jewish self-defense movement.[6] Janco subsequently made his first trip to British Palestine, and began arranging his and his family's relocation there.[6][118][152][153] Although Jules and his family emigrated soon after the visit, Marcel returned to Bucharest and, shortly before Jewish art was officially censored, had his one last exhibit there, together with Milița Petrașcu.[118] He was also working on one of his last, and most experimental, contributions to Romanian architecture: the Hermina Hassner Villa (which also hosted his 1928 painting of the Jardin du Luxembourg), the Emil Petrașcu residence,[71] and a tower behind the Atheneum.[154]

In 1939, the Nazi-aligned Ion Gigurtu cabinet enforced racial discrimination throughout the land, and, as a consequence, Jaquesmara was confiscated by the state.[118] Many of the Bucharest villas he had designed, which had Jewish landlords, were also taken over forcefully by the authorities.[71] Some months after, the National Renaissance Front government prevented Janco from publishing his work anywhere in Romania, but he was still able to find a niche at Timpul daily—its anti-fascist manager, Grigore Gafencu, gave imprimatur to sketches, including the landscapes of Palestine.[153] He was also finding work with the ghettoized Jewish community, designing the new Barașeum Studio, located in the vicinity of Caimatei.[153]

During the first two years of World War II, although he prepared his documents and received a special passport,[155] Janco was still undecided. He was still in Romania when the Iron Guard established its National Legionary State. He was receiving and helping Jewish refugees from Nazi-occupied Europe, and hearing from them about the concentration camp system, but refused offers to emigrate into a neutral or Allied country.[6] His mind was made up in January 1941, when the Iron Guard's struggle for maintaining power resulted in the Bucharest Pogrom. Janco himself was a personal witness to the violent events, noting for instance that the Nazi German bystanders would declare themselves impressed by the Guard's murderous efficiency, or how the thugs made an example of the Jews trapped in the Choral Temple.[156] The Străulești Abattoir murders and the stories of Jewish survivors also inspired several of Janco's drawings.[157] One of the victims of the Abattoir massacre was Costin's brother Michael Goldschlager. He was kidnapped from his house by Guardsmen,[6] and his corpse was among those found hanging on hooks, mutilated in such way as to mock the Jewish kashrut ritual.[152][158]

 
Janco's studio in Ein Hod

Janco later stated that, over the course of a few days, the pogrom had made him a militant Jew.[6][159] With clandestine assistance from England,[6] Marcel, Medi and their two daughters left Romania through Constanța harbor, and arrived in Turkey on 4 February 1941. They then made their way to Islahiye and French Syria, crossing through the Kingdom of Iraq and Transjordan, and, on 23 February, ended their journey in Tel Aviv.[160] The painter found his first employment as architect for Tel Aviv's city government, sharing the office with a Holocaust survivor who informed him about the genocide in occupied Poland.[6] In Romania, the new regime of Conducător Ion Antonescu planned a new series of antisemitic measures and atrocities (see Holocaust in Romania). In November 1941, Costin and his wife Laura, who had stayed behind in Bucharest, were among those deported to the occupied region of Transnistria.[160] Costin survived, joining up with his sister and with Janco in Palestine, but later moved back to Romania.[161]

In British Palestine and Israel edit

During his years in British Palestine, Marcel Janco became a noted participant in the development of local Jewish art. He was one of the four Romanian Jewish artists who marked the development of Zionist arts and crafts before 1950—the others were Jean David, Reuven Rubin, Jacob Eisenscher;[162] David, who was Janco's friend in Bucharest, joined him in Tel Aviv after an adventurous trip and internment in Cyprus.[163] In particular, Janco was an early influence on three Zionist artists who had arrived to Palestine from other regions: Avigdor Stematsky, Yehezkel Streichman and Joseph Zaritsky.[164] He was soon recognized as a leading presence in the artist community, receiving Tel Aviv Municipality's Dizengoff Prize in 1945, and again in 1946.[165]

These contacts were not interrupted by the 1948 Arab–Israeli War, and Janco was a figure of prominence in the art scene of independent Israel. The new nation enlisted his services as planner, and he was assigned to the team of Arieh Sharon, being tasked with designing and preserving the Israeli national parks.[166] As a result of his intervention, in 1949 the area of Old Jaffa was turned into an artist-friendly community.[166] He was again a recipient of the Dizengoff Prize in 1950 and 1951, resuming his activity as an art promoter and teacher, with lectures at the Seminar HaKibbutzim college (1953).[165] His artwork was again on show in New York City for a 1950 retrospective.[152] In 1952 he was one of three artists whose work was displayed at the Israeli pavilion at the Venice Biennale, the first year Israel had its own pavilion at the Biennale. The other two artists were Reuven Rubin and Moshe Mokady.[167]

Marcel Janco began his main Israeli project in May 1953, after he had been mandated by the Israeli government to prospect the mountainous regions and delimit a new national park south of Mount Carmel.[168] In his own account (since disputed by others),[166] he came across the deserted village of Ein Hod, whose Palestinian inhabitants had been largely displaced during the 1948 expulsion. Janco felt that the place should not be demolished, obtaining a lease on it from the authorities, and rebuilt the place with other Israeli artists who worked there on weekends;[169] Janco's main residence continued to be in the neighborhood of Ramat Aviv.[154] His plot of land in Ein Hod was previously owned by the Arab Abu Faruq, who died in 1991 at the Jenin refugee camp.[170] Janco became the site's first mayor, reorganizing it into a utopian society, art colony and tourist attraction, and instituted the strict code of requirements for one's settlement in Ein Hod.[171]

 
Janco (second from left) with Ofakim Hadashim colleagues at the Tel Aviv Museum of Art, 1953

Also in the 1950s, Janco was a founding member of Ofakim Hadashim ("New Horizons") group, comprising Israeli painters committed to abstract art, and headed by Zaritsky. Although he shared the artistic vision, Janco probably did not approve of Zaritsky's rejection of all narrative art and, in 1956, left the group.[172][173] He continued to explore new media, and, together with artisan Itche Mambush, he created a series of reliefs and tapestries.[154][174] Janco also drew in pastel, and created humorous illustrations to Don Quixote.[155]

His individual contributions received further praise from his peers and his public: in 1958, he was honored with the Histadrut union's prize.[165] Over the next two decades, Marcel Janco had several new personal exhibits, notably in Tel Aviv (1959, 1972), Milan (1960) and Paris (1963).[152] Having attended the 1966 Venice Biennale,[175] he won the Israel Prize of 1967, in recognition of his work as painter.[152][165][166][174][176]

In 1960, Janco's presence in Ein Hod was challenged by the returning Palestinians, who tried to reclaim the land. He organized a community defense force, headed by sculptor Tuvia Iuster, which guarded Ein Hod until Israel Police intervened against the protesters.[177] Janco was generally tolerant of those Palestinians who set up the small rival community of Ein Hawd: he notably maintained contacts with tribal leader Abu Hilmi and with Arab landscape artist Muin Zaydan Abu al-Hayja, but the relationship between the two villages was generally distant.[178] Janco has also been described as "disinterested" in the fate of his Arab neighbors.[166]

For a second time, Janco reunited with Costin when the latter fled Communist Romania. The writer was a political refugee, singled out at home for "Zionist" activities, and implicated in the show trial of Milița Petrașcu.[128][179] Costin later left Israel, settling in France.[10][180] Janco himself made efforts to preserve a link with Romania, and sent albums to his artist friends beyond the Iron Curtain.[181] He met with folklorist and former political prisoner Harry Brauner,[175] poet Ștefan Iureș, painter Matilda Ulmu and art historian Geo Șerban.[154][155] His studio was home to other Jewish Romanian emigrants fleeing communism, including female artist Liana Saxone-Horodi.[154][174] From Israel, he spoke about his Romanian experience at length, first in an interview with writer Solo Har and then in a 1980 article for Shevet Romania magazine.[6] A year later, from his home in Australia, the modernist promoter Lucian Boz headlined a selection of his works with Janco's portrait of the author.[182]

Also in 1981, a selection of Janco's drawings of Holocaust crimes was issued with the Am Oved album Kav Haketz/On the Edge.[6] The following year, he received the "Worthy of Tel Aviv" distinction, granted by the city government.[165] One of the last public events to be attended by Marcel Janco was the creation of the Janco-Dada Museum at his home in Ein Hod.[71][152][154][174][176] By then, Janco is said to have been concerned about the overall benefits of Jewish relocation into an Arab village.[183] Among his final appearances in public was a 1984 interview with Schweizer Fernsehen station, in which he revisited his Dada activities.[26]

Work edit

From Iser's Postimpressionism to Expressionist Dada edit

The earliest works by Janco show the influence of Iosif Iser, adopting the visual trappings of Postimpressionism and illustrating, for the first time in Janco's career, the interest in modern composition techniques;[184] Liana Saxone-Horodi believes that Iser's manner is most evident in Janco's 1911 work, Self-portrait with Hat, preserved at the Janco-Dada Museum.[174] Around 1913, Janco was in more direct contact with the French sources of Iser's Postimpressionism, having by then discovered on his own the work of André Derain.[15] However, his covers and vignettes for Simbolul are generally Art Nouveau and Symbolist to the point of pastiche. Researcher Tom Sandqvist presumes that Janco was in effect following his friends' command, as "his own preferences were soon closer to Cézanne and cubist-influenced modes of expression".[185]

Futurism was thrown into the mix, a fact acknowledged by Janco during his 1930 encounter with Marinetti: "we were nourished by [Futurist] ideas and empowered to be enthusiastic."[22] A third major source for Janco's imagery was Expressionism, initially coming to him from both Die Brücke artists and Oskar Kokoschka,[186] and later reactivated by his contacts at Der Sturm.[65] Among his early canvasses, the self-portraits and the portraits of clowns have been discussed as particularly notable samples of Romanian Expressionism.[187]

The influence of Germanic Postimpressionism on Janco's art was crystallized during his studies at the Federal Institute of Technology. His more important teachers there, Sandqvist observes, were sculptor Johann Jakob Graf and architect Karl Moser—the latter in particular, for his ideas on the architectural Gesamtkunstwerk. Sandqvist suggests that, after modernizing Moser's ideas, Janco first theorized that Abstract-Expressionistic decorations needed to an integral part of the basic architectural design.[188] In paintings from Janco's Cabaret Voltaire period, the figurative element is not canceled, but usually subdued: the works show a mix of influences, primarily from Cubism or Futurism, and have been described by Janco's colleague Arp as "zigzag naturalism".[189] His series on dancers, painted before 1917 and housed by the Israel Museum, moves between the atmospheric qualities of a Futurism filtered through Dada and Janco's first experiments in purely abstract art.[190]

His assimilation of Expressionism has led scholar John Willett to discuss Dadaism as visually an Expressionist sub-current,[191] and, in retrospect, Janco himself claimed that Dada was not as much a fully-fledged new artistic style as "a force coming from the physical instincts", directed against "everything cheap".[192] However, his own work also features the quintessentially Dada found object art, or everyday objects rearranged as art—reportedly, he was the first Dadaist to experiment in such manner.[193] His other studies, in collage and relief, have been described by reviewers as "a personal synthesis which is identifiable as his own to this day",[194] and ranked among "the most courageous and original experiments in abstract art."[71]

The Contimporanul years were a period of artistic exploration. Although a Constructivist architect and designer, Janco was still identifiable as an Expressionist in his ink-drawn portraits of writers and in some of his canvasses. According to scholar Dan Grigorescu, his essays of the time fluctuate away from Constructivism, and adopt ideas common in Expressionism, Surrealism, or even the Byzantine revival suggested by anti-modernist reviews.[195] His Rolling the Dice piece is a meditation on the tragedy of human existence, which reinterprets the symbolism of zodiacs[196] and probably alludes to the seedier side of urban life.[197] The Expressionist transfiguration of shapes was especially noted in his drawings of Mateiu Caragiale and Stephan Roll, created from harsh and seemingly spontaneous lines.[186] The style was ridiculed at the time by traditionalist poet George Topîrceanu, who wrote that, in Antologia poeților de azi, Ion Barbu looked "a Mongolian bandit", Felix Aderca "a shoemaker's apprentice", and Alice Călugăru "an alcoholic fishwife".[104] Such views were contrasted by Perpessicius' publicized belief that Janco was "the purest artist", his drawings evidencing the "great vital force" of his subjects.[198] Topîrceanu's claim is contradicted by literary historian Barbu Cioculescu, who finds the Antologia drawings: "exquisitely synthetic—some of them masterpieces; take it from someone who has seen from up close many of the writers portrayed".[199]

Primitive and collective art edit

As a Dada, Janco was interested in the raw and primitive art, generated by "the instinctive power of creation", and he credited Paul Klee with having helped him "interpret the soul of primitive man".[39][200] A distinct application of Dada was his own work with masks, seen by Hugo Ball as having generated fascination with their unusual "kinetic power", and useful for performing "larger-than-life characters and passions."[201] However, Janco's understanding of African masks, idols and ritual was, according to art historians Mark Antliff and Patricia Leighten, "deeply romanticized" and "reductive".[202]

At the end of the Dada episode, Janco also took his growing interest in primitivism to the level of academia: in his 1918 speech at the Zürich Institute, he declared that African, Etruscan, Byzantine and Romanesque arts were more genuine and "spiritual" than the Renaissance and its derivatives, while also issuing special praise for the modern spirituality of Derain, Vincent van Gogh, Pablo Picasso and Henri Matisse; his lecture rated all Cubists above all Impressionists.[203] In his contribution to Das Neue Leben theory, he spoke about a return to the handicrafts, ending the "divorce" between art and life.[204] Art critic Harry Seiwert also notes that Janco's art also reflected his contact with various other alternative models, found in Ancient Egyptian and Far Eastern art, in the paintings of Cimabue and El Greco, and in Cloisonnism.[205] Seiwert and Sandqvist both propose that Janco's work had other enduring connections with the visual conventions of Hassidism and the dark tones often favored by 20th-century Jewish art.[206]

Around 1919, Janco had come to describe Constructivism as a needed transition from "negative" Dada, an idea also pioneered by his colleagues Kurt Schwitters and Theo van Doesburg, and finding an early expression in Janco's plaster relief Soleil jardin clair (1918).[207] In part, Janco's post-Dadaism responded to the socialist ideals of Constructivism. According to Sandqvist, his affiliation to Das Neue Leben and his sporadic contacts with the Art Soviet of Munich meant that he was trying to "adjust to the spirit of the age."[208] Historian Hubert F. van der Berg also notes that the socialist ideal of "a new life", implicitly adopted by Janco, was a natural peacetime development of Dada's discourse about "the new man".[209]

The activity at Contimporanul cemented Janco's belief in primitivism and the values of outsider art. In a 1924 piece, he argued: "The art of children, folk art, the art of psychopaths, of primitive people are the liveliest ones, the most expressive ones, coming to us from organic depths, without cultivated beauty."[210] He ridiculed, like Ion Vinea before him, the substance of Romania's academic traditionalism, notably in a provocative drawing which showed a grazing donkey under the title "Tradition".[211] Instead, Janco was publicizing the idea that Dada and various other strands of modernism were the actual tradition, for being indirectly indebted to the absurdist nature of Romanian folklore.[212] The matter of Janco's own debt to his country's peasant art is more controversial. In the 1920s, Vinea discussed Janco's Cubism is a direct echo of an old abstract art that is supposedly native and exclusive to Romania—an assumption considered exaggerated by Paul Cernat.[213] Seiwert suggests that virtually none of Janco's paintings show a verifiable contact with Romanian primitivism, but his opinion is questioned by Sandqvist: he writes that Janco's masks and prints are homages to traditional Romanian decorative patterns.[214]

Beyond Constructivism edit

For a while, Janco rediscovered himself in abstract and semi-abstract art, describing the basic geometrical shapes as pure forms, and art as the effort to organize these forms—ideas akin with the "picto-poetry" of Romanian avant-garde writers such as Ilarie Voronca.[215] After 1930, when Constructivism lost its position of leadership on Romania's artistic scene,[83][216] Janco made a return to "analytic" Cubism, echoing the early work of Picasso in his painting Peasant Woman and Eggs.[186] This period centered on semi-figurative cityscapes, which, according to critics such as Alexandru D. Broșteanu[76] and Sorin Alexandrescu,[217] stand out for their objectification of the human figure. Also then, Janco worked on seascape and still life canvasses, in brown tones and Cubist arrangements.[174] Diversification touched his other activities. His theory of set design still mixed Expressionism into Futurism and Constructivism, calling for an actor-based Expressionist theater and a mechanized, movement-based, cinema.[218] However, his parallel work in costume design evidenced a toning down of avant-garde tendencies (to the displeasure of his colleagues at Integral magazine), and a growing preoccupation with commedia dell'arte.[219]

In discussing architecture, Janco described himself and the other Artistes Radicaux as the mentors of Europe's modernist urban planners, including Bruno Taut and the Bauhaus group.[220] The ideals of collectivism in art, "art as life", and a "Constructivist revolution" dominated his programmatic texts of the mid-1920s, which offered as examples the activism of De Stijl, Blok and Soviet Constructivist architecture.[221] His own architectural work was entirely dedicated to functionalism: in his words, the purpose of architecture was a "harmony of forms", with designs as simplified as to resemble crystals.[222] His experiment on Trinității Street, with its angular pattern and multicolored facade, has been rated one of the most spectacular samples of Romanian modernism,[71] while the buildings he designed later came with Art Deco elements, including the "ocean liner"-type balconies.[181] At the other end, his Predeal sanatorium was described by Sandqvist as "a long, narrow white building clearly signaling its function as a hospital" and "smoothly adapting to the landscape."[109] Functionalism was further illustrated by Janco's ideas on furniture design, where he favored "small heights", "simple aesthetics", as well as "a maximum of comfort"[223] which would "pay no tribute to richness".[71]

Scholars have also noted that "the breath of humanitarianism" unites the work of Janco, Maxy and Corneliu Michăilescu, beyond their shared eclecticism.[224] Cernat nevertheless suggests that the Contimporanul group was politically disengaged and making efforts to separate art from politics, giving positive coverage to both Marxism and Italian fascism.[225] In that context, a more evidently Marxist form of Constructivism, close to Proletkult, was being taken up independently by Maxy.[83] Janco's functionalist goal was still coupled with socialist imagery, as in Către o arhitectură a Bucureștilor, called an architectural tikkun olam by Sandqvist.[75] Indebted to Le Corbusier's New Architecture,[226] Janco theorized that Bucharest had the "luck" of not yet being systematized or built-up, and that it could be easily turned into a garden city, without ever repeating the West's "chain of mistakes".[71] According to architecture historians Mihaela Criticos and Ana Maria Zahariade, Janco's creed was not in fact radically different from mainstream Romanian opinions: "although declaring themselves committed to the modernist agenda, [Janco and others] nuance it with their own formulas, away from the abstract utopias of the International Style."[227] A similar point is made by Sorin Alexandrescu, who attested a "general contradiction" in Janco's architecture, that between Janco's own wishes and those of his patrons.[217]

Holocaust art and Israeli abstractionism edit

Soon after his first visit to Palestine and his Zionist conversion, Janco began painting landscapes in optimistic tones, including a general view over Tiberias[174] and bucolic watercolors.[176] By the time of World War II, however, he was again an Expressionist, fascinated with the major existential themes. The war experience inspired his 1945 painting Fascist Genocide, which is also seen by Grigorescu as one of his contributions to Expressionism.[228] Janco's sketches of the Bucharest Pogrom are, according to cultural historian David G. Roskies, "extraordinary" and in complete break with Janco's "earlier surrealistic style"; he paraphrases the rationale for this change as: "Why bother with surrealism when the world itself has gone crazy?"[159] According to the painter's own definition: "I was drawing with the thirst of one who is being chased around, desperate to quench it and find his refuge."[6] As he recalled, these works were not well received in the post-war Zionist community, because they evoked painful memories in a general mood of optimism; as a result, Janco decided to change his palette and tackle subjects which related exclusively to his new country.[229] An exception to this self-imposed rule was the motif of "wounded soldiers", which continued to preoccupy him after 1948, and was also thematically linked to the wartime massacres.[230]

During and after his Ofakim Hadashim engagement, Marcel Janco again moved into the realm of pure abstraction, which he believed represented the artistic "language" of a new age.[231] This was an older idea, as first illustrated by his 1925 attempt to create an "alphabet of shapes", the basis for any abstractionist composition.[83] His subsequent preoccupations were linked to the Jewish tradition of interpreting symbols, and he reportedly told scholar Moshe Idel: "I paint in Kabbalah".[232] He was still eclectic beyond abstractionism, and made frequent returns to brightly colored, semi-figurative, landscapes.[174] Also eclectic is Janco's sparse contribution to the architecture of Israel, including a Herzliya Pituah villa that is entirely built in the non-modernist Poble Espanyol style.[166] Another component of Janco's work was his revisiting of earlier Dada experiments: he redid some of his Dada masks,[174] and supported the international avant-garde group NO!art.[233] He later worked on the Imaginary Animals cycle of paintings, inspired by the short stories of Urmuz.[174][215]

Meanwhile, his Ein Hod project was in various ways the culmination of his promotion of folk art, and, in Janco's own definition, "my last Dada activity".[204] According to some interpretations, he may have been directly following the example of Hans Arp's "Waggis" commune, which existed in 1920s Switzerland.[55][154] Anthropologist Susan Slyomovics argues that the Ein Hod project as a whole was an alternative to the standard practice of Zionist colonization, since, instead of creating new buildings in the ancient scenery, it showed attempts to cultivate the existing Arab-style masonry.[234] She also writes that Janco's landscapes of the place "romanticize" his own contact with the Palestinians, and that they fail to clarify whether he thought of Arabs as refugees or as fellow inhabitants.[235] Journalist Esther Zanberg describes Janco as an "Orientalist" driven by "the mythology surrounding Israeli nationalistic Zionism."[166] Art historian Nissim Gal also concludes: "the pastoral vision of Janco [does not] include any trace of the inhabitants of the former Arab village".[173]

Legacy edit

 
The Janco-Dada Museum, with residents' artwork and fragment of the Berlin Wall

Admired by his contemporaries on the avant-garde scene, Marcel Janco is mentioned or portrayed in several works by Romanian authors. In the 1910s, Vinea dedicated him the poem "Tuzla", which is one of his first contributions to modernist literature;[236] a decade later, one of the Janco exhibits inspired him to write the prose poem Danțul pe frânghie ("Dancing on a Wire").[237] Following his conflict with the painter, Tzara struck out all similar dedications from his own poems.[55] Before their friendship waned, Ion Barbu also contributed a homage to Janco, referring to his Constructivist paintings as "storms of protractors".[124] In addition, Janco was dedicated a poem by Belgian artist Émile Malespine, and is mentioned in one of Marinetti's poetic texts about the 1930 visit to Romania,[238] as well as in the verse of neo-Dadaist Valery Oisteanu.[239] Janco's portrait was painted by colleague Victor Brauner, in 1924.[124]

According to Sandqvist, there are three competing aspects in Janco's legacy, which relate to the complexity of his profile: "In Western cultural history Marcel Janco is best known as one of the founding members of Dada in Zürich in 1916. Regarding the Romanian avant-garde in the interwar period Marcel Hermann Iancu is more known as the spider in the web and as the designer of a great number of Romania's first constructivist buildings [...]. On the other hand, in Israel Marcel Janco is best known as the 'father' of the artists' colony of Ein Hod [...] and for his pedagogic achievements in the young Jewish state."[240] Janco's memory is principally maintained by his Ein Hod museum. The building was damaged by the 2010 forest fire, but reopened and grew to include a permanent exhibit of Janco's art.[174] Janco's paintings still have a measurable impact on the contemporary Israeli avant-garde, which is largely divided between the abstractionism he helped introduce and the neorealistic disciples of Michail Grobman and Avraham Ofek.[241]

The Romanian communist regime, which cracked down on modernism, reconfirmed the confiscation of villas built by the Birou de Studii Moderne, which it then leased to other families.[71][134] One of these lodgings, the Wexler Villa, was assigned as the residence of communist poet Eugen Jebeleanu.[134][242] The regime tended to ignore Janco's contributions, which were not listed in the architectural who's who,[243] and it became standard practice to generally omit references to his Jewish ethnicity.[6] He was however honored with a special issue of Secolul 20 literary magazine, in 1979,[154] and interviewed for Tribuna and Luceafărul journals (1981, 1984).[244] His architectural legacy was affected by the large-scale demolition program of the 1980s. Most of the buildings were spared, however, because they are scattered throughout residential Bucharest.[181] Some 20 of his Bucharest structures were still standing twenty years later,[243] but the lack of a renovation program and the shortages of late communism brought steady decay.[71][166][181][243]

After the Romanian Revolution of 1989, Marcel Janco's buildings were subject to legal battles, as the original owners and their descendants were allowed to contest the nationalization.[71] These landmarks, like other modernist assets, became treasured real estate: in 1996, a Janco house was valued at 500,000 United States dollars.[181] The sale of such property happened at a fast pace, reportedly surpassing the standardized conservation effort, and experts noted with alarm that Janco villas were being defaced with anachronistic additions, such as insulated glazing[243][245] and structural interventions,[134] or eclipsed by the newer highrise.[246] In 2008, despite calls from within the academic community, only three of his buildings had been inscribed in the National Register of Historic Monuments.[243]

Janco was again being referenced as a possible model for new generations of Romanian architects and urban planners. In a 2011 article, poet and architect August Ioan claimed: "Romanian architecture is, apart from its few years with Marcel Janco, one that has denied itself experimentation, projective thinking, anticipation. [...] it is content with imports, copies, nuances or pure and simple stagnation."[247] This stance is contrasted by that of designer Radu Comșa, who argues that praise for Janco often lacks "the recoil of objectivity".[163] Janco's programmatic texts on the issue were collected and reviewed by historian Andrei Pippidi in the 2003 retrospective anthology București – Istorie și urbanism ("Bucharest. History and Urban Planning").[248] Following a proposal formulated by poet and publicist Nicolae Tzone at the Bucharest Conference on Surrealism, in 2001,[249] Janco's sketch for Vinea's "country workshop" was used in designing Bucharest's ICARE, the Institute for the Study of the Romanian and European Avant-garde.[250] The Bazaltin building was used as the offices of TVR Cultural station.[243]

In the realm of visual arts, curators Anca Bocăneț and Dana Herbay organized a centennial Marcel Janco exhibit at the Bucharest Museum of Art (MNAR),[251] with additional contributions from writer Magda Cârneci.[181] In 2000, his work was featured in the "Jewish Art of Romania" retrospective, hosted by Cotroceni Palace.[252] The local art market rediscovered Janco's art, and, in June 2009, one of his seascapes sold in auction for 130,000 Euro, the second largest sum ever fetched by a painting in Romania.[253] There was a noted increase in his overall market value,[254] and he became interesting to art forgers.[255]

Outside Romania, Janco's work has been reviewed in specialized monographs by Harry Seiwert (1993)[256] and Michael Ilk (2001).[124][257] His work as painter and sculptor has been dedicated special exhibits in Berlin,[124] Essen (Museum Folkwang) and Budapest,[257] while his architecture was presented abroad with exhibitions at the Technical University Munich and Bauhaus Center Tel Aviv.[166] Among the events showcasing Janco's art, some focused exclusively on his rediscovered Holocaust paintings and drawings. These shows include On the Edge (Yad Vashem, 1990)[6] and Destine la răscruce ("Destinies at Crossroads", MNAR, 2011).[258] His canvasses and collages went on sale at Bonhams[176] and Sotheby's.[194]

See also edit

Notes edit

  1. ^ Surname also Ianco, Janko or Jancu.

References edit

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  233. ^ Rainer Rumold, " 'No!art' Negative Aesthetics as Resistance to the Art of Forgetting", in Robert Fletcher (ed.), Beyond Resistance: The Future of Freedom, Nova Publishers, Hauppauge, 2007, p. 23. ISBN 1-60021-032-5
  234. ^ Slyomovics (1995), pp. 45–47
  235. ^ Slyomovics (1995), p. 47
  236. ^ Sandqvist, p. 136
  237. ^ Cernat, Avangarda, p. 198
  238. ^ Cernat, Avangarda, pp. 176, 267
  239. ^ (in Romanian) Ovidiu Drăghia, "Revista presei", in Observator Cultural, Nr. 165-166, April 2003
  240. ^ Sandqvist, p. 66
  241. ^ Alice Pfeiffer, "A New Promised Art" (interview with Fabien Béjean-Lebenson) 23 March 2012 at the Wayback Machine, in Art in America, 18 May 2010
  242. ^ (in Romanian) Vladimir Tismăneanu, "Viața și timpurile lui Eugen Jebeleanu" 4 November 2011 at the Wayback Machine, in Revista 22, Nr. 1106, May 2011
  243. ^ a b c d e f (in Romanian) Victoria Anghelescu, "Marea arhitectură, între ruine și termopane", in Adevărul Literar și Artistic, 5 November 2008
  244. ^ Pop, "Un 'misionar al artei noi' (II)", p. 11
  245. ^ (in Romanian) Luminița Batali, "Pariul unei administrații europene", in Observator Cultural, Nr. 366-367, April 2007
  246. ^ (in Romanian) Geo Șerban, "Samsarii imobiliari, moștenitorii dictatorului", in Observator Cultural, Nr. 487, August 2009
  247. ^ (in Romanian) Augustin Ioan, "Experiment în arhitectura românească", in Viața Românească, Nr. 1-2/2011
  248. ^ (in Romanian) Dorin-Liviu Bîtfoi, "Lecturi la zi" 4 March 2016 at the Wayback Machine, in România Literară, Nr. 34/2003
  249. ^ (in Romanian) "Programul simpozionului international ICARE", in Observator Cultural, Nr. 64, May 2001; Reporter, "Reporter european" 4 March 2016 at the Wayback Machine, in România Literară, Nr. 21/2001
  250. ^ Cernat, Avangarda, p. 162
  251. ^ Sandqvist, pp. 9, 67
  252. ^ (in Romanian) Amelia Pavel, "O expoziție revelatoare: Artiști evrei din România" 4 March 2016 at the Wayback Machine, in România Literară, Nr. 38/2000
  253. ^ (in Romanian) Remus Andrei Ion, "Cele mai scumpe 10 picturi vândute în România după 1990", in Ziarul Financiar, 2 September 2009
  254. ^ (in Romanian) Daniel Nicolescu, "Un Brâncuși necunoscut, scos la vânzare în București", in Ziarul Financiar, 16 December 2010
  255. ^ (in Romanian) Andrei Ion, "Sculpturi piratate", in Ziarul Financiar, 9 February 2007; Doinel Tronaru, "Falsificatorii de artă, încolțiți", in Adevărul Literar și Artistic, 26 November 2011
  256. ^ Sandqvist, pp. 11, 73
  257. ^ a b (in Romanian) Florin Colonas, "O toamnă bogată", in Observator Cultural, Nr. 207, February 2004
  258. ^ (in Romanian) Andrei Oișteanu, "Ziua Holocaustului în România" 3 November 2011 at the Wayback Machine, in Revista 22, Nr. 1075, October 2010

Bibliography edit

  • Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. ISBN 978-973-23-1911-6
  • Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. OCLC 490001217
  • Vasile Drăguț, Vasile Florea, Dan Grigorescu, Marin Mihalache, Pictura românească în imagini, Editura Meridiane, Bucharest, 1970. OCLC 5717220
  • Dan Grigorescu, Istoria unei generații pierdute: expresioniștii, Editura Eminescu, Bucharest, 1980. OCLC 7463753
  • Susan Valeria Harris Smith, Masks in Modern Drama, University of California Press, Berkeley etc., 1984. ISBN 0-520-05095-9
  • Dalia Manor, "From Rejection to Recognition: Israeli Art and the Holocaust", in Dan Urian, Efraim Karsh (eds.), In Search of Identity: Jewish Aspects in Israeli Culture, Frank Cass, London & Portland, 1999, p. 253-277. ISBN 0-7146-4440-4
  • Barbara Meazzi, "Les marges du Futurisme", in François Livi (ed.), Futurisme et Surréalisme, L'Âge d'Homme, Lausanne, 2008, p. 111-124. ISBN 978-2-8251-3644-7
  • Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. ISBN 973-9155-43-X
  • (in Romanian) Ion Pop, , in Tribuna, Nr. 177, January 2010, p. 9-10; , in Tribuna, Nr. 178, February 2010, p. 10-11
  • Marie-Aline Prat, Peinture et avant-garde au seuil des années 30, L'Âge d'Homme, Lausanne, 1984. OCLC 13759997
  • David G. Roskies, Against the Apocalypse: Responses to Catastrophe in Modern Jewish Culture, Syracuse University Press, Syracuse, 1999. ISBN 0-8156-0615-X
  • Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. ISBN 0-262-19507-0
  • Susan Slyomovics,
    • "Discourses on the pre-1948 Palestinian Village: The Case of Ein Hod/Ein Houd", in Annelies Moors, Toine van Teeffelen, Sharif Kanaana, Ilham Abu Ghazaleh (eds.), Discourse and Palestine: Power, Text and Context, Het Spinhuis, Amsterdam, 1995, p. 41-54. ISBN 90-5589-010-3
    • "The New Ein Houd", in Esther Hertzog, Orit Abuhav, Harvey E. Goldberg, Emanuel Marx (eds.), Perspectives on Israeli Anthropology, Wayne State University Press, Detroit, 2010, p. 413-452. ISBN 978-0-8143-3050-0
  • Richard C. S. Trahair, Utopias and Utopians: An Historical Dictionary, Greenwood Publishing Group, Westport, 1999. ISBN 0-313-29465-8
  • Hubert F. van der Berg, "From a New Art to a New Life and a New Man. Avant-garde Utopianism in Dada", in Sascha Bru, Gunther Martens (eds.), The Invention of Politics in the European Avant-garde (1906-1940), Rodopi Publishers, Amsterdam & New York City, 2006, p. 133-150. ISBN 90-420-1909-3

External links edit

 
Wikimedia Commons has media related to Marcel Janco.
  • Marcel Janco collection at the Israel Museum. Retrieved 1 February 2012.
  • "Marcel Janco". Information Center for Israeli Art. Israel Museum. Retrieved 18 September 2016.
  • Art of Marcel Janco at Europeana. Retrieved 1 February 2012
  • Janco's works at the Museum of Modern Art
  • by Petre Răileanu, in , Nr. 3/1999
  • , University of Iowa
  • Ein Hod Artists' Village and , official sites
  • Contimporanul archive, Babeș-Bolyai University Transsylvanica Online Library

February 16, 2024
marcel, janco, german, maʁˈsɛl, ˈjaŋkoː, french, maʁsɛl, ʒɑ, common, rendition, romanian, name, marcel, hermann, iancu, marˈtʃel, ˈherman, ˈjaŋku, 1895, april, 1984, romanian, israeli, visual, artist, architect, theorist, inventor, dadaism, leading, exponent, . Marcel Janco German maʁˈsɛl ˈjaŋkoː French maʁsɛl ʒɑ ko common rendition a of the Romanian name Marcel Hermann Iancu 1 marˈtʃel ˈherman ˈjaŋku 24 May 1895 21 April 1984 was a Romanian and Israeli visual artist architect and art theorist He was the co inventor of Dadaism and a leading exponent of Constructivism in Eastern Europe In the 1910s he co edited with Ion Vinea and Tristan Tzara the Romanian art magazine Simbolul Janco was a practitioner of Art Nouveau Futurism and Expressionism before contributing his painting and stage design to Tzara s literary Dadaism He parted with Dada in 1919 when he and painter Hans Arp founded a Constructivist circle Das Neue Leben Marcel JancoJanco in 1954BornMarcel Hermann Iancu24 May 1895Bucharest RomaniaDied21 April 1984 1984 04 21 aged 88 Ein Hod IsraelNationalityRomanian IsraeliEducationFederal Institute of Technology ZurichKnown forOil painting collage relief illustration found object art linocut woodcut watercolor pastel costume design interior design scenic design ceramic art fresco tapestryMovementPostimpressionism Symbolism Art Nouveau Cubism Expressionism Futurism Primitivism Dada Abstract art Constructivism Surrealism Art Deco Das Neue Leben Contimporanul Criterion Ofakim HadashimAwardsDizengoff Prize Histadrut Prize Israel PrizeReunited with Vinea he founded Contimporanul the influential tribune of the Romanian avant garde advocating a mix of Constructivism Futurism and Cubism At Contimporanul Janco expounded a revolutionary vision of urban planning He designed some of the most innovative landmarks of downtown Bucharest He worked in many art forms including illustration sculpture and oil painting Janco was one of the leading Romanian Jewish intellectuals of his generation Targeted by antisemitic persecution before and during World War II he emigrated to the British Mandate for Palestine in 1941 He won the Dizengoff Prize and Israel Prize and was a founder of Ein Hod a utopian art colony Contents 1 Biography 1 1 Early life 1 2 Swiss journey and Dada events 1 3 Two speeds Dada and Das Neue Leben 1 4 Between Bethune and Bucharest 1 5 Contimporanul beginnings 1 6 Functionalist breakthrough 1 7 Between Contimporanul and Criterion 1 8 Persecution and departure 1 9 In British Palestine and Israel 2 Work 2 1 From Iser s Postimpressionism to Expressionist Dada 2 2 Primitive and collective art 2 3 Beyond Constructivism 2 4 Holocaust art and Israeli abstractionism 3 Legacy 4 See also 5 Notes 6 References 6 1 Bibliography 7 External linksBiography editEarly life edit Marcel Janco was born on 24 May 1895 in Bucharest to an upper middle class Jewish family 2 His father Hermann Zui Iancu was a textile merchant His mother Rachel nee Iuster was from Moldavia 3 The couple lived outside Bucharest s Jewish quarter on Decebal Street 4 He was the oldest of four children His brothers were Iuliu Jules and George His sister Lucia was born in 1900 4 The Iancus moved from Decebal to Gandului Street and then to Trinității where they built one of the largest home and garden complexes in early 20th century Bucharest 5 In 1980 Janco revisited his childhood years writing Born as I was in beautiful Romania into a family of well to do people I had the fortune of being educated in a climate of freedom and spiritual enlightenment My mother possessing a genuine musical talent and my father a stern man and industrious merchant had created the conditions favorable for developing all of my aptitudes I was of a sensitive and emotional nature a withdrawn child who was predisposed to dreaming and meditating I grew up dominated by a strong sense of humanity and social justice The existence of disadvantaged weak people of impoverished workers of beggars hurt me and when compared to our family s decent condition awoke in me a feeling of guilt 6 Janco attended Gheorghe Șincai School and studied drawing art with the Romanian Jewish painter and cartoonist Iosif Iser 7 In his teenage years the family traveled widely from Austria Hungary to Switzerland Italy and the Netherlands 8 At Gheorghe Lazăr High School he met several students who would become his artistic companions Tzara known then as S Samyro Vinea Iovanaki writers Jacques G Costin and Poldi Chapier 9 Janco also became friends with pianist Clara Haskil the subject of his first published drawing which appeared in Flacăra magazine in March 1912 10 11 As a group the students were under the influence of Romanian Symbolist clubs which were at the time the more radical expressions of artistic rejuvenation in Romania Marcel and Jules Janco s first moment of cultural significance took place in October 1912 when they joined Tzara in editing the Symbolist venue Simbolul which managed to receive contributions from some of Romania s leading modern poets from Alexandru Macedonski to Ion Minulescu and Adrian Maniu The magazine nevertheless struggled to find its voice alternating modernism with the more conventional Symbolism 12 Janco was perhaps the main graphic designer of Simbolul and he may even have persuaded his wealthy parents to support the venture which closed down in early 1913 13 Unlike Tzara who refused to look back on Simbolul with anything but embarrassment Janco proudly regarded it as his first participation in artistic revolution 14 After the Simbolul moment Marcel Janco worked at Seara daily where he took further training in draftsmanship 15 The newspaper took him in as illustrator probably as a result of intercessions from Vinea its literary columnist 10 Their Simbolul colleague Costin joined them as Seara s cultural editor 10 16 Janco was also a visitor of the literary and art club meeting at the home of controversial politician and Symbolist poet Alexandru Bogdan Pitești who was for a while the manager of Seara 17 It is possible that during those years Tzara and Janco first came to hear and be influenced by the absurdist prose of Urmuz the lonesome civil clerk and amateur writer who would later become the hero of Romanian modernism 18 Years later in 1923 Janco drew an ink portrait of Urmuz 19 In maturity he also remarked that Urmuz was the original rebel figure in Romanian literature 20 In the 1910s Janco was also interested in the parallel development of French literature and read passionately from such authors as Paul Verlaine and Guillaume Apollinaire 21 Another immediate source of inspiration for his attitude on life was provided by Futurism an anti establishment movement created in Italy by poet Filippo Tommaso Marinetti and his artists circle 22 Swiss journey and Dada events edit nbsp Hugo Ball in the bishop dress 1916Janco eventually decided to leave Romania probably because he wanted to attend international events such as the Sonderbund exhibit but also because of quarrels with his father 15 In quick succession after the start of World War I Marcel Jules and Tzara left Bucharest for Zurich According to various accounts their departure may have been either a search for new opportunities abundant in cosmopolitan Switzerland 23 or a discreet pacifist statement 24 Initially the Jancos were registered with the University of Zurich where Marcel took Chemistry courses before applying to study architecture at the Federal Institute of Technology 25 His real ambition later confessed was to pursue more training in painting 6 26 The two brothers were soon joined by younger Georges Janco but all three were left without any financial support when the war began hampering Europe s trade routes until October 1917 both Jules and Marcel who found it impossible to sell his paintings earned a living as cabaret performers 26 27 Marcel was noted for performing selections from Romanian folklore and playing the accordion 28 as well as for his rendition of chansons 10 26 It was during this time that the young artist and his brothers began using the consecrated version of the surname Iancu probably in hopes that it would sound more familiar to foreigners 29 In this context the Romanians came into contact with Hugo Ball and the other independent artists plying their trade at the Malerei building which soon after became known as Cabaret Voltaire Ball later recalled that four Oriental men introduced themselves to him late after a show the description refers to Tzara the older Jancos and probably the Romanian painter Arthur Segal 30 Ball found the young painter especially pleasant and was impressed that unlike his peers Janco was melancholy rather than ironic other participants remember him as a very handsome presence in the group and he allegedly had the reputation of a lady killer 31 Accounts of what happened next differ but it is presumed that shortly after the four new participants were accepted the performances became more daring and the transition was made from Ball s Futurism to the virulent anti art performances of Tzara and Richard Huelsenbeck 32 With help from Segal and others Marcel Janco was personally involved in decorating the Cabaret Voltaire 28 Its hectic atmosphere would inspire Janco to create an eponymous oil painting dated 1916 and believed to have been lost 33 He was a major contributor to the cabaret s events he notably carved the grotesque masks worn by performers on stilts gave hissing concerts and in unison with Huelsenbeck and Tzara improvised some of the first and mostly onomatopoeic simultaneous poems to be read on stage 34 His work with masks became especially influential opening up a new field of theatrical exploration for the Dadaists as the Cabaret Voltaire crew began calling themselves and earning special praise from Ball 35 Contrary to Ball s later claim of authorship Janco is also credited with having tailored the bishop dress another one of the iconic products of early Dadaism 36 The actual birth of Dadaism at an unknown date later formed the basis of disputes between Tzara Ball and Huelsenbeck In this context Janco is cited as a source for the story according to which the invention of the term Dada belonged exclusively to Tzara 37 Janco also circulated stories according to which their shows were attended for informative purposes by communist theorist Vladimir Lenin 38 and psychiatrist Carl Jung 26 His various contributions were harnessed by Dada s international effort of self promotion In April 1917 he welcomed the Dada affiliation of Switzerland s own Paul Klee calling Klee s contribution to the Dada exhibit a great event 39 His mask designs were popular beyond Europe and inspired similar creations by Mexico s German Cueto the Stridentist painter puppeteer 40 The Dadaist popularization effort received lukewarm responses in Janco s native country where the traditionalist press expressed alarm at being confronted with Dada precepts 41 Vinea himself was ambivalent about the activities of his two friends preserving a link with poetic tradition which made his publication in Tzara s press impossible 42 In a letter to Janco Vinea spoke about having personally presented one of Janco s posters to modernist poet and art critic Tudor Arghezi He said critically that you cannot say whether a person is talented or not on the basis of only one drawing Rubbish 43 Exhibited at the Dada group shows Janco also illustrated the Dada advertisements including an April 1917 program which features his sketches of Ball Tzara and Ball s actress wife Emmy Hennings 44 The event featured his production of Oskar Kokoschka s farce Sphinx und Strohmann for which he was also the stage designer and which was turned into one of the most notorious among Dada provocations 45 Janco was the director and mask designer for the Dada production for another one of Kokoschka s plays Job 46 He also returned as Tzara s illustrator producing the linocuts to The First Heavenly Adventure of Mr Antipyrine having already created the props for its theatrical production 47 Two speeds Dada and Das Neue Leben edit nbsp Viking Eggeling s drawings for a Generalbass der Malerei General Basis of Painting 1918As early as 1917 Marcel Janco began taking his distance from the movement he had helped to generate His work in both woodcut and linocut continued to be used as the illustration to Dada almanacs for another two years 48 but he was more often than not in disagreement with Tzara while also trying to diversify his style As noted by critics he found himself split between the urge to mock traditional art and the belief that something just as elaborate needed to take its place in the conflict between Tzara s nihilism and Ball s art for art s sake Janco tended to support the latter 49 In a 1966 text he further assessed that there were two speeds in Dada and that the spiritual violence phase had eclipsed the best Dadas including his fellow painter Hans Arp 50 Janco recalled We Janco and Tzara couldn t agree any more on the importance of Dada and the misunderstandings accumulated 51 There were he noted dramatic fights sparked by Tzara s taste for bad jokes and scandal 52 The artist preserved a grudge and his retrospective views on Tzara s role in Zurich are often sarcastic depicting him as an excellent organizer and vindictive self promoter but not truly a man of culture 53 a few years into the scandal he even started a rumor that Tzara was illegally trading in opium 54 As noted in 2007 by Romanian literary historian Paul Cernat All the efforts by Ion Vinea to reunite them would be in vain Iancu and Tzara would ignore or banter each other for the rest of their lives 55 With this split there came a certain classicization in Marcel Janco s discourse In February 1918 Janco was even invited to lecture at his alma mater where he spoke about modernism and authenticity in art as related phenomena drawing comparisons between the Renaissance and African art 56 However having decided to focus on his other projects Janco nearly abandoned his studies and failed his final exam 57 In this context he moved closer to the cell of post Dada Constructivists exhibiting collectively as Neue Kunst New Art Arp Fritz Baumann Hans Richter Otto Morach 58 As a result Janco was made a member of Das Neue Leben faction which supported an educational approach to modern art coupled with socialist ideals and Constructivist aesthetics 59 In its art manifesto the group declared its ideal of rebuild ing the human community in preparation for the end of capitalism 60 Janco was even affiliated with Artistes Radicaux a more politically inclined section of Das Neue Leben where his colleagues included other former Dadas Arp Hans Richter Viking Eggeling 61 The Artistes Radicaux were in touch with the German Revolution and Richter who worked for the short lived Bavarian Soviet Republic even offered Janco and the others virtual teaching positions at the Academy of Fine Arts under a workers government 62 Between Bethune and Bucharest edit Janco made his final contribution to the Dada adventure in April 1919 when he designed the masks for a major Dada event organized by Tzara at the Saal zur Kaufleutern and which degenerated into an infamous mass brawl 63 By May he was mandated by Das Neue Leben to create and publish a journal for the movement Although this never saw print the preparations placed Janco in contact with the representatives of various modernist currents Arthur Segal Walter Gropius Alexej von Jawlensky Oscar Luthy and Enrico Prampolini 64 This period also witnessed the start of a friendly relationship between Janco and the Expressionist artists who published in Herwarth Walden s magazine Der Sturm 65 A little more than a year after the end of war in December 1919 Marcel and Jules left Switzerland for France After passing through Paris the painter was in Bethune where he married Amelie Micheline Lily Ackermann in what was described as a gesture of fronde against his father The girl was a Swiss Catholic of lowly condition who had first met the Jancos at Das Neue Leben 66 Janco was probably in Bethune for a longer while he was listed as one of those considered for helping to rebuild war affected French Flanders redesigned the Chevalier Westrelin store in Hinges and was perhaps the co owner of an architectural enterprise Ianco amp Dequire 67 It is not unlikely that Janco followed with curiosity the activities of Dada s Parisian cell which were overseen by Tzara and his pupil Andre Breton and he is known to have impressed Breton with his own architectural projects 68 He was also announced with Tzara as a contributor to the post Dada magazine L Esprit Nouveau published by Paul Dermee 69 Nevertheless Janco was invited to exhibit elsewhere rallying with Section d Or a Cubist collective 68 Late in 1921 Janco and his wife left for Romania where they had a second marriage to seal their union in front of familial disputes 70 Janco was soon reconciled with his parents and although still unlicensed as an architect began receiving his first commissions some of which came from within his own family 71 72 His first known design constructed in 1922 and officially registered as the work of one I Rosenthal is a group of seven alley houses 3 pairs and corner residence on his father Hermann Iancu s property at 79 Maximilian Popper Street prev Trinității Street 29 one of these became his new home Essentially traditional in style they are also somewhat stylised recalling the plainness of the English Arts amp Crafts or the Czech Cubist style 73 Soon after making his comeback Marcel Janco reconnected himself with the local avant garde salons and had his first Romanian exhibits at the Maison d Art club in Bucharest 74 His friends and collaborators among them actress Dida Solomon and journalist director Sandu Eliad would describe him as exceptionally charismatic and knowledgeable 75 In December 1926 he was present at the Hasefer Art Show in Bucharest 76 Around that year Janco took commissions as an art teacher at his studio in Bucharest in the words of his pupil the future painter Hedda Sterne these were informal We were given easels etc but nobody looked nobody advised us 77 Contimporanul beginnings edit From his position as Constructivist mentor and international artist Janco proceeded to network between Romanian modernist currents and joined up with his old colleague Vinea Early in 1922 the two men founded a political and art magazine the influential Contimporanul historically the longest lived venue of the Romanian avant garde 78 Janco was abroad that year as one of guests at the First Constructivist Congress convened by Dutch artist Theo van Doesburg in Dusseldorf 79 He was in Zurich around 1923 receiving the visit of a compatriot writer Victor Eftimiu who declared him a hard working artist able to reconcile the modern with the traditional 80 Contimporanul followed Janco s Constructivist affiliation Initially a venue for socialist satire and political commentary it reflected Vinea s strong dislike for the ruling National Liberal Party 81 However by 1923 the journal became increasingly cultural and artistic in its revolt headlining with translations from van Doesburg and Breton publishing Vinea s own homage to Futurism and featuring illustrations and international notices which Janco may have handpicked himself 82 Some researchers have attributed the change exclusively to the painter s growing say in editorial policy 83 84 Janco was at the time in correspondence with Dermee who was to contribute the Contimporanul anthology of modern French poetry 85 and with fellow painter Michel Seuphor who collected Janco s Constructivist sculptures 86 He maintained a link between Contimporanul and Der Sturm which republished his drawings alongside the contributions of various Romanian avant garde writers and artists 87 The reciprocal popularization was taken up by Ma the Vienna based tribune of Hungarian modernists which also published samples of Janco s graphics 88 Owing to Janco s resentments and Vinea s apprehension the magazine never covered the issuing of new Dada manifestos and responded critically to Tzara s new versions of Dada history 89 Marcel Janco also took charge of Contimporanul s business side designing its offices on Imprimerie Street and overseeing the publication of postcards 90 Over the years his own contributions to Contimporanul came to include some 60 illustrations some 40 articles on art and architectural topics and a number of his architectural designs or photographs of buildings erected from them 91 He oversaw one of the journal s first special issues dedicated to Modern Architecture and notably hosting his own contributions to architectural theory as well as his design of a country workshop for Vinea s use 92 Other issues also featured his essay on film and theater his furniture designs and his interview with the French Cubist Robert Delaunay 93 Janco was also largely responsible for the Contimporanul issue on Surrealism which included his interviews with writers such as Joseph Delteil and his inquiry about the publisher Simon Kra 94 Together with Romanian Cubist painter M H Maxy Janco was personally involved in curating the Contimporanul International Art Exhibit of 1924 95 This event reunited the major currents of Europe s modern art reflecting Contimporanul s eclectic agenda and international profile It hosted samples of works by leading modernists the Romanians Segal Constantin Brancuși Victor Brauner Janos Mattis Teutsch Milița Petrașcu alongside Arp Eggeling Klee Richter Lajos Kassak and Kurt Schwitters 96 The exhibit included samples of Janco s work in furniture design and featured his managerial contribution to a Dada like opening party co produced by him Maxy Vinea and journalist Eugen Filotti 97 He was also involved in preparing the magazine s theatrical parties including the 1925 production of A Merry Death by Nikolai Evreinov Janco was the set and costume designer and Eliad the director 98 An unusual echo of the exhibit came in 1925 when Contimporanul published a photograph of Brancuși s Princess X sculpture The Romanian Police saw this as a sexually explicit artwork and Vinea and Janco were briefly taken into custody 99 Janco was a dedicated admirer of Brancuși visiting him in Paris and writing in Contimporanul about Brancuși s spirituality of form theories 100 In their work as cultural campaigners Vinea and Janco even collaborated with 75 HP a periodical edited by poet Ilarie Voronca which was nominally anti Contimporanul and pro Dada 101 Janco was also an occasional presence in the pages of Punct the Dadaist Constructivist paper put out by the socialist Scarlat Callimachi It was here that he notably published articles on architectural styles and a lampoon in French and German titled T S F Dialogue entre le bourgeois mort et l apotre de la vie nouvelle Cablegram The Dialogue between a Dead Bourgeois and the Apostle of New Living 83 102 In addition his graphic work was popularized by Voronca s other magazine the Futurist tribune Integral 103 Janco was also called upon by authors Ion Pillat and Perpessicius to illustrate their Antologia poeților de azi The Anthology of Present Day Poets His portraits of the writers included drawn in sharply modernist style were received with amusement by the traditionalist public 104 In 1926 Janco further antagonized the traditionalists by publishing sensual drawings for Camil Baltazar s book of erotic poems Strigări trupești lingă glezne Bodily Exhortations around the Ankles 105 Functionalist breakthrough edit Some time in the late 1920s Janco set up an architectural studio Birou de Studii Moderne Office of Modern Studies a partnership with his brother Jules Iulius a venture often identified by the name Marcel Iuliu Iancu combining the two brothers as one 106 Heralding the change of architectural tastes with his articles in Contimporanul Marcel Janco described Romania s capital as a chaotic inharmonious backward town in which the traffic was hampered by carts and trams a city in need of Modernist revolution 107 Profiting from the building boom of Greater Romania and the rising popularity of functionalism Janco s Birou received commissions from 1926 onwards that were occasional and small scale Compared with mainstream functionalist architects like Horia Creangă Duiliu Marcu or Jean Monda 108 the Jancos had a decisive role in popularizing the functionalist versions of Constructivism or Cubism designing the first examples of this new stylistic approach to be built in Romania The first clear though unheralded expression of Modernism in Romania was the construction in 1926 of a small apartment building near his earlier houses also built for his father Herman with an apartment for Herman one for Marcel as well as his rooftop studio The structure simply follows the curved line of the corner lot the severe elevations devoid of decoration enlivened only by a triangular bay window and balcony above and a scheme of different colours now lost applied to the three wall areas differentiated by slight variations on depth A major breakthrough was his Villa for Jean Fuchs built in 1927 on Negustori Street Its cosmopolitan owner allowed the artist complete freedom in designing the building and a budget of 1 million lei and he created what is often described as the first Constructivist and therefore Modernist structure in Bucharest 109 71 The design was quite unlike anything seen in Bucharest before the front facade composed of complex overlapping projecting and receding rectangular volumes horizontal and corner windows three circular porthole windows and stepped flat roof areas including a rooftop lookout The result caused a stir in the neighborhood and the press found it to be reminiscent of a morgue and a crematorium 71 The architect and his patrons were undeterred by such reactions and the Janco firm received commissions to build similar villas Until 1933 when Marcel Janco finally received his certification his designs continued to be officially recorded under different names most usually attributed to a Constantin Simionescu 71 This had little effect on the Birou s output by the time of his last known design in 1938 Janco and his brother are thought to have designed some 40 permanent or temporary structures in Bucharest many in the wealthier northern residential districts of Aviatorilor and Primaverii but by far the largest concentration in or to the north of the Jewish Quarter just the east of the old town centre reflecting the family and community ties of many of his commissions 71 A series of modernist villas for sometimes wealthy clients followed despite the Fuchs controversy 110 The Villa Henri Daniel 1927 demolished on Strada Ceres returned to the almost unadorned flat facade enlivened by a play of horizontal and vertical lines while the Maria Lambru Villa 1928 on Popa Savu Street was a simplified version of the Fuchs design The Florica Chihăescu house on Șoseaua Kiseleff 1929 is surprisingly formal with a central porch below strip windows and also marks collaboration with Milița Petrașcu from the 1924 exhibition who provided some statuary now lost 111 The Villa Bordeanu 1930 on Labirint Street plays with symmetrical formality while the Villa Paul Iluta 1931 altered employs bold rectangular volumes over three floors as does the Paul Wexler Villa 1931 on Silvestru and Grigore Mora streets 71 The Jean Juster Villa 1931 nearby at Strada Silvestru 75 combines the bold rectangular volumes with a projecting semi circular one Another project was a house for his Simbolul friend Poldi Chapier located on Ipătescu Alley and finished in 1929 71 this is occasionally described as Bucharest s first Cubist lodging even though the Villa Fuchs was two year earlier 112 In 1931 he designed his first tenement apartment building at Strada Caimatei 20 a small stack of 3 apartments of boldly projecting forms developed himself for his family with other floors to rent in the name of his wife Clara Janco It is thought the studios for his Birou were on the top floor and the design was published in Contimporanul in 1932 113 Two more followed in 1933 on Strada Paleologu next to each other simpler in conception with a second one in his wife s name and one for Jaques Costin which features a bas relief panel of women working with wool by Militia Pătrascu by the door 114 These projects are joined by a private sanatorium of Predeal Janco s only design outside of Bucharest Built in 1934 115 at the base of a wooded hill it has the sweeping horizontals of international streamlined Modernism with Janco s innovation of diagonally placed rooms creating a striking zigzag effect 109 Janco had one daughter from his marriage to Lily Ackermann who signed her name Josine Ianco Starrels b 1926 and was raised a Catholic 116 Her sister Claude Simone had died in infancy 117 By the mid 1920s Marcel and Lily Janco were estranged already by the time of their divorce 1930 she was living by herself in a Brașov home designed by Janco 117 The artist remarried to Clara Medi Goldschlager the sister of his old friend Jacques G Costin The couple had a girl Deborah Theodora Dadi for short 117 With his new family Janco lived a comfortable life traveling throughout Europe and spending his summer vacations in the resort town of Balchik 117 The Jancos and the Costins also shared ownership of a country estate known as Jacquesmara 118 it was located in Budeni Comana Giurgiu County 6 10 The house is especially known for hosting Clara Haskil during one of her triumphant returns to Romania 10 Between Contimporanul and Criterion edit Janco was still active as the art editor of Contimporanul during its final and most eclectic series of 1929 119 when he took part in selecting new young contributors such as publicist and art critic Barbu Brezianu 120 At that junction the magazine triumphantly published a Letter to Janco in which the formerly traditionalist architect George Matei Cantacuzino spoke about his colleague s decade long contribution to the development of Romanian functionalism 71 121 Beyond his Contimporanul affiliation Janco rallied with the Bucharest collective Arta Nouă New Art also joined by Maxy Brauner Mattis Teutsch Petrașcu Nina Arbore Cornelia Babic Daniel Alexandru Brătășanu Olga Greceanu Corneliu Michăilescu Claudia Millian Tania Șeptilici and others 122 Janco and some other regulars of Contimporanul also reached out to the Surrealist faction at unu review Janco is notably mentioned as a contributor on the cover of unu Summer 1930 issue where all 8 containing pages were purposefully left blank 123 Janco prepared woodcuts for the first edition of Vinea s novel Paradisul suspinelor The Paradise of Sobs printed with Editura Cultura Națională in 1930 124 125 and for Vinea s poems in their magazine versions 126 His drawings were used in illustrating two volumes of interviews with writers compiled by Contimporanul sympathizer Felix Aderca 127 and Costin s only volume of prose the 1931 Exerciții pentru mana dreaptă Right handed Exercises 124 128 Janco attended the 1930 reunion organized by Contimporanul in honor of the visiting Futurist Filippo Tommaso Marinetti and gave a welcoming speech 129 Marinetti was again praised by the Contimporanul group Vinea Janco Petrașcu Costin in February 1934 in an open letter stating We are soldiers of the same army 130 These developments created a definitive split in Romania s avant garde movement and contributed to Contimporanul s eventual fall the Surrealists and socialists at unu condemned Vinea and the rest for having established through Marinetti a connection with the Italian fascists 131 After the incidents Janco s art was openly questioned by unu contributors such as Stephan Roll 132 Although Contimporanul went bankrupt an artistic faction of the same name survived until 1936 133 During the interval Janco found other backers in the specialized art and architecture magazines such as Orașul Arta și Orașul Rampa Ziarul Științelor și al Călătoriilor 71 In 1932 his villa designs were included by Alberto Sartoris in his guide to modern architecture Gli elementi dell architettura razionale 71 134 The early 1930s also witnessed Janco s participation with the literary and art society Criterion whose leader was philosopher Mircea Eliade The group was mostly a venue Romania s intellectual youth interested in redefining the national specificity around modernist values but also offered a venue for dialogue between the far right and the far left 135 With Maxy Petrașcu Mac Constantinescu Petre Iorgulescu Yor Margareta Sterian and others Janco represented the art collective at Criterion which in 1933 exhibited at Dalles Hall Bucharest 136 The same year Janco erected a blockhouse for Costin Paleologu Street 5 which doubled as his own working address and the administrative office of Contimporanul 71 From 1929 Janco s efforts to reform the capital received administrative support from Dem I Dobrescu the left wing Mayor of Bucharest 137 1934 was the year when Janco returned as architectural theorist with Urbanism nu romantism Urbanism Not Romanticism an essay in the review Orașul Janco s text restated the need and opportunity for modernist urban planning especially in Bucharest 71 Orașul edited by Eliad and writer Cicerone Theodorescu introduced him as a world famous architect and revolutionary praising the diversity of his contributions 71 In 1935 Janco published the pamphlet Către o arhitectură a Bucureștilor Toward an Architecture of Bucharest which recommended a utopian project to solve the city s social crisis 71 75 Like some of his Contimporanul colleagues he was by then collaborating with Cuvantul Liber the self styled moderate left wing review and with Isac Ludo s modernist magazine Adam 138 The mid 1930s was his most prolific period as an architect designing more villas more small apartment buildings and larger ones as well 110 His Bazaltin Company headquarters a mixed use project os offices and apartments that rose up to a topmost 9th floor on Jianu Square his largest and most prominent and still most well known albeit abandoned was built in 1935 The Solly Gold apartments on a corner on Hristo Botev Avenue 1934 is his best known smaller block with interlocking angular volumes and balconies on all five sides visible a double level apartment on the top and a panel depicting Diana by Militia Pătrascu by the door Another well known design is the David Haimovici 1937 on Strada Olteni its well kept smooth grey walls outlined in white and a Mediterranean pergola on the top floor The seven level Frida Cohen tower 1935 dominates a small roundabout on Stelea Spătarul Street with its curved balconies while a six level one on Luchian Street probably a real estate investment of his own 139 is more restrained with long strip windows the main feature and another panel by Milita Petrascu in the lobby Villas included one for Florica Reich 1936 on Grigore Mora a simple rectangular volume with a double height corner cut out topped by an inventive gridded glass roof and one for Hermina Hassner 1937 almost square in plan and with almost the opposite effect a first floor corner balcony wall pierced by a grid of small circular openings 71 Probably commissioned by Mircea Eliade in 1935 Janco also designed the Alexandrescu Building a severe four storey tenement for Eliade s sister and her family 71 One of his last projects was a collaboration with Milita Petrascu for her family home and studio the Villa Emil Pătrascu 1937 at Pictor Ion Negulici Street 19 a boldly blocky design 140 Together with Margareta Sterian who became his disciple Janco was working on artistic projects involving ceramics and fresco 141 In 1936 some works by Janco Maxy and Petrașcu represented Romania at the Futurist art show in New York City 142 Throughout the period Janco was still on demand as a draftsman in 1934 his depiction of poet Constantin Nissipeanu opened the first print of Nisspeanu s Metamorfoze 143 in 1936 he published a posthumous portrait of writer Mateiu Caragiale to illustrate the Perpessicius edition of Caragiale s poems 144 His prints also served to illustrate Sadismul adevărului The Sadism of Truth written by unu founder Sașa Pană 145 Persecution and departure edit nbsp Janco and friends in the Hula Valley 1938By that time the Janco family was faced with the rise of antisemitism and alarmed by the growth of fascist movements such as the Iron Guard In the 1920s the Contimporanul leadership had sustained a xenophobic attack from the traditionalist review Țara Noastră It cited Vinea s Greek origins as a cause for concern 146 and described Janco as the painter of the cylinder and an alien cosmopolitan Jew 147 That objection to Janco s work and to Contimporanul in general was also taken up in 1926 by the anti modernist essayist I E Torouțiu 148 Criterion itself split in 1934 when some of its members openly rallied with the Iron Guard and the radical press accused the remaining ones of promoting pederasty through their public performances 149 Josine was expelled from Catholic school in 1935 the reason invoked being that her father was a Jew 150 For Marcel Janco the events were an opportunity to discuss his own assimilation into Romanian society in one of his conferences he defined himself as an artist who is a Jew rather than a Jewish artist 150 He later confessed his dismay at the attacks targeting him nowhere never in Romania or elsewhere in Europe during peacetime or the cruel years of World War I did anyone ask me whether I was a Jew or a kike Hitler s Romanian minions managed to change this climate to turn Romania into an antisemitic country 6 The ideological shift he recalled destroyed his relationships with the Contimporanul poet Ion Barbu who reportedly concluded after admiring a 1936 exhibit Too bad you re a kike 6 At around that time pianist and fascist sympathizer Cella Delavrancea also assessed that Janco s contribution to theater was the prime example of Jewish and bastard art 151 When the antisemitic National Christian Party took power Janco was coming to terms with the Zionist ideology describing the Land of Israel as the cradle and salvation of Jews the world over 6 152 At Budeni he and Costin hosted Betar paramilitaries who were attempting to organize a Jewish self defense movement 6 Janco subsequently made his first trip to British Palestine and began arranging his and his family s relocation there 6 118 152 153 Although Jules and his family emigrated soon after the visit Marcel returned to Bucharest and shortly before Jewish art was officially censored had his one last exhibit there together with Milița Petrașcu 118 He was also working on one of his last and most experimental contributions to Romanian architecture the Hermina Hassner Villa which also hosted his 1928 painting of the Jardin du Luxembourg the Emil Petrașcu residence 71 and a tower behind the Atheneum 154 In 1939 the Nazi aligned Ion Gigurtu cabinet enforced racial discrimination throughout the land and as a consequence Jaquesmara was confiscated by the state 118 Many of the Bucharest villas he had designed which had Jewish landlords were also taken over forcefully by the authorities 71 Some months after the National Renaissance Front government prevented Janco from publishing his work anywhere in Romania but he was still able to find a niche at Timpul daily its anti fascist manager Grigore Gafencu gave imprimatur to sketches including the landscapes of Palestine 153 He was also finding work with the ghettoized Jewish community designing the new Barașeum Studio located in the vicinity of Caimatei 153 During the first two years of World War II although he prepared his documents and received a special passport 155 Janco was still undecided He was still in Romania when the Iron Guard established its National Legionary State He was receiving and helping Jewish refugees from Nazi occupied Europe and hearing from them about the concentration camp system but refused offers to emigrate into a neutral or Allied country 6 His mind was made up in January 1941 when the Iron Guard s struggle for maintaining power resulted in the Bucharest Pogrom Janco himself was a personal witness to the violent events noting for instance that the Nazi German bystanders would declare themselves impressed by the Guard s murderous efficiency or how the thugs made an example of the Jews trapped in the Choral Temple 156 The Străulești Abattoir murders and the stories of Jewish survivors also inspired several of Janco s drawings 157 One of the victims of the Abattoir massacre was Costin s brother Michael Goldschlager He was kidnapped from his house by Guardsmen 6 and his corpse was among those found hanging on hooks mutilated in such way as to mock the Jewish kashrut ritual 152 158 nbsp Janco s studio in Ein HodJanco later stated that over the course of a few days the pogrom had made him a militant Jew 6 159 With clandestine assistance from England 6 Marcel Medi and their two daughters left Romania through Constanța harbor and arrived in Turkey on 4 February 1941 They then made their way to Islahiye and French Syria crossing through the Kingdom of Iraq and Transjordan and on 23 February ended their journey in Tel Aviv 160 The painter found his first employment as architect for Tel Aviv s city government sharing the office with a Holocaust survivor who informed him about the genocide in occupied Poland 6 In Romania the new regime of Conducător Ion Antonescu planned a new series of antisemitic measures and atrocities see Holocaust in Romania In November 1941 Costin and his wife Laura who had stayed behind in Bucharest were among those deported to the occupied region of Transnistria 160 Costin survived joining up with his sister and with Janco in Palestine but later moved back to Romania 161 In British Palestine and Israel edit During his years in British Palestine Marcel Janco became a noted participant in the development of local Jewish art He was one of the four Romanian Jewish artists who marked the development of Zionist arts and crafts before 1950 the others were Jean David Reuven Rubin Jacob Eisenscher 162 David who was Janco s friend in Bucharest joined him in Tel Aviv after an adventurous trip and internment in Cyprus 163 In particular Janco was an early influence on three Zionist artists who had arrived to Palestine from other regions Avigdor Stematsky Yehezkel Streichman and Joseph Zaritsky 164 He was soon recognized as a leading presence in the artist community receiving Tel Aviv Municipality s Dizengoff Prize in 1945 and again in 1946 165 These contacts were not interrupted by the 1948 Arab Israeli War and Janco was a figure of prominence in the art scene of independent Israel The new nation enlisted his services as planner and he was assigned to the team of Arieh Sharon being tasked with designing and preserving the Israeli national parks 166 As a result of his intervention in 1949 the area of Old Jaffa was turned into an artist friendly community 166 He was again a recipient of the Dizengoff Prize in 1950 and 1951 resuming his activity as an art promoter and teacher with lectures at the Seminar HaKibbutzim college 1953 165 His artwork was again on show in New York City for a 1950 retrospective 152 In 1952 he was one of three artists whose work was displayed at the Israeli pavilion at the Venice Biennale the first year Israel had its own pavilion at the Biennale The other two artists were Reuven Rubin and Moshe Mokady 167 Marcel Janco began his main Israeli project in May 1953 after he had been mandated by the Israeli government to prospect the mountainous regions and delimit a new national park south of Mount Carmel 168 In his own account since disputed by others 166 he came across the deserted village of Ein Hod whose Palestinian inhabitants had been largely displaced during the 1948 expulsion Janco felt that the place should not be demolished obtaining a lease on it from the authorities and rebuilt the place with other Israeli artists who worked there on weekends 169 Janco s main residence continued to be in the neighborhood of Ramat Aviv 154 His plot of land in Ein Hod was previously owned by the Arab Abu Faruq who died in 1991 at the Jenin refugee camp 170 Janco became the site s first mayor reorganizing it into a utopian society art colony and tourist attraction and instituted the strict code of requirements for one s settlement in Ein Hod 171 nbsp Janco second from left with Ofakim Hadashim colleagues at the Tel Aviv Museum of Art 1953Also in the 1950s Janco was a founding member of Ofakim Hadashim New Horizons group comprising Israeli painters committed to abstract art and headed by Zaritsky Although he shared the artistic vision Janco probably did not approve of Zaritsky s rejection of all narrative art and in 1956 left the group 172 173 He continued to explore new media and together with artisan Itche Mambush he created a series of reliefs and tapestries 154 174 Janco also drew in pastel and created humorous illustrations to Don Quixote 155 His individual contributions received further praise from his peers and his public in 1958 he was honored with the Histadrut union s prize 165 Over the next two decades Marcel Janco had several new personal exhibits notably in Tel Aviv 1959 1972 Milan 1960 and Paris 1963 152 Having attended the 1966 Venice Biennale 175 he won the Israel Prize of 1967 in recognition of his work as painter 152 165 166 174 176 In 1960 Janco s presence in Ein Hod was challenged by the returning Palestinians who tried to reclaim the land He organized a community defense force headed by sculptor Tuvia Iuster which guarded Ein Hod until Israel Police intervened against the protesters 177 Janco was generally tolerant of those Palestinians who set up the small rival community of Ein Hawd he notably maintained contacts with tribal leader Abu Hilmi and with Arab landscape artist Muin Zaydan Abu al Hayja but the relationship between the two villages was generally distant 178 Janco has also been described as disinterested in the fate of his Arab neighbors 166 For a second time Janco reunited with Costin when the latter fled Communist Romania The writer was a political refugee singled out at home for Zionist activities and implicated in the show trial of Milița Petrașcu 128 179 Costin later left Israel settling in France 10 180 Janco himself made efforts to preserve a link with Romania and sent albums to his artist friends beyond the Iron Curtain 181 He met with folklorist and former political prisoner Harry Brauner 175 poet Ștefan Iureș painter Matilda Ulmu and art historian Geo Șerban 154 155 His studio was home to other Jewish Romanian emigrants fleeing communism including female artist Liana Saxone Horodi 154 174 From Israel he spoke about his Romanian experience at length first in an interview with writer Solo Har and then in a 1980 article for Shevet Romania magazine 6 A year later from his home in Australia the modernist promoter Lucian Boz headlined a selection of his works with Janco s portrait of the author 182 Also in 1981 a selection of Janco s drawings of Holocaust crimes was issued with the Am Oved album Kav Haketz On the Edge 6 The following year he received the Worthy of Tel Aviv distinction granted by the city government 165 One of the last public events to be attended by Marcel Janco was the creation of the Janco Dada Museum at his home in Ein Hod 71 152 154 174 176 By then Janco is said to have been concerned about the overall benefits of Jewish relocation into an Arab village 183 Among his final appearances in public was a 1984 interview with Schweizer Fernsehen station in which he revisited his Dada activities 26 Work editFrom Iser s Postimpressionism to Expressionist Dada edit The earliest works by Janco show the influence of Iosif Iser adopting the visual trappings of Postimpressionism and illustrating for the first time in Janco s career the interest in modern composition techniques 184 Liana Saxone Horodi believes that Iser s manner is most evident in Janco s 1911 work Self portrait with Hat preserved at the Janco Dada Museum 174 Around 1913 Janco was in more direct contact with the French sources of Iser s Postimpressionism having by then discovered on his own the work of Andre Derain 15 However his covers and vignettes for Simbolul are generally Art Nouveau and Symbolist to the point of pastiche Researcher Tom Sandqvist presumes that Janco was in effect following his friends command as his own preferences were soon closer to Cezanne and cubist influenced modes of expression 185 Futurism was thrown into the mix a fact acknowledged by Janco during his 1930 encounter with Marinetti we were nourished by Futurist ideas and empowered to be enthusiastic 22 A third major source for Janco s imagery was Expressionism initially coming to him from both Die Brucke artists and Oskar Kokoschka 186 and later reactivated by his contacts at Der Sturm 65 Among his early canvasses the self portraits and the portraits of clowns have been discussed as particularly notable samples of Romanian Expressionism 187 The influence of Germanic Postimpressionism on Janco s art was crystallized during his studies at the Federal Institute of Technology His more important teachers there Sandqvist observes were sculptor Johann Jakob Graf and architect Karl Moser the latter in particular for his ideas on the architectural Gesamtkunstwerk Sandqvist suggests that after modernizing Moser s ideas Janco first theorized that Abstract Expressionistic decorations needed to an integral part of the basic architectural design 188 In paintings from Janco s Cabaret Voltaire period the figurative element is not canceled but usually subdued the works show a mix of influences primarily from Cubism or Futurism and have been described by Janco s colleague Arp as zigzag naturalism 189 His series on dancers painted before 1917 and housed by the Israel Museum moves between the atmospheric qualities of a Futurism filtered through Dada and Janco s first experiments in purely abstract art 190 His assimilation of Expressionism has led scholar John Willett to discuss Dadaism as visually an Expressionist sub current 191 and in retrospect Janco himself claimed that Dada was not as much a fully fledged new artistic style as a force coming from the physical instincts directed against everything cheap 192 However his own work also features the quintessentially Dada found object art or everyday objects rearranged as art reportedly he was the first Dadaist to experiment in such manner 193 His other studies in collage and relief have been described by reviewers as a personal synthesis which is identifiable as his own to this day 194 and ranked among the most courageous and original experiments in abstract art 71 The Contimporanul years were a period of artistic exploration Although a Constructivist architect and designer Janco was still identifiable as an Expressionist in his ink drawn portraits of writers and in some of his canvasses According to scholar Dan Grigorescu his essays of the time fluctuate away from Constructivism and adopt ideas common in Expressionism Surrealism or even the Byzantine revival suggested by anti modernist reviews 195 His Rolling the Dice piece is a meditation on the tragedy of human existence which reinterprets the symbolism of zodiacs 196 and probably alludes to the seedier side of urban life 197 The Expressionist transfiguration of shapes was especially noted in his drawings of Mateiu Caragiale and Stephan Roll created from harsh and seemingly spontaneous lines 186 The style was ridiculed at the time by traditionalist poet George Topirceanu who wrote that in Antologia poeților de azi Ion Barbu looked a Mongolian bandit Felix Aderca a shoemaker s apprentice and Alice Călugăru an alcoholic fishwife 104 Such views were contrasted by Perpessicius publicized belief that Janco was the purest artist his drawings evidencing the great vital force of his subjects 198 Topirceanu s claim is contradicted by literary historian Barbu Cioculescu who finds the Antologia drawings exquisitely synthetic some of them masterpieces take it from someone who has seen from up close many of the writers portrayed 199 Primitive and collective art edit As a Dada Janco was interested in the raw and primitive art generated by the instinctive power of creation and he credited Paul Klee with having helped him interpret the soul of primitive man 39 200 A distinct application of Dada was his own work with masks seen by Hugo Ball as having generated fascination with their unusual kinetic power and useful for performing larger than life characters and passions 201 However Janco s understanding of African masks idols and ritual was according to art historians Mark Antliff and Patricia Leighten deeply romanticized and reductive 202 At the end of the Dada episode Janco also took his growing interest in primitivism to the level of academia in his 1918 speech at the Zurich Institute he declared that African Etruscan Byzantine and Romanesque arts were more genuine and spiritual than the Renaissance and its derivatives while also issuing special praise for the modern spirituality of Derain Vincent van Gogh Pablo Picasso and Henri Matisse his lecture rated all Cubists above all Impressionists 203 In his contribution to Das Neue Leben theory he spoke about a return to the handicrafts ending the divorce between art and life 204 Art critic Harry Seiwert also notes that Janco s art also reflected his contact with various other alternative models found in Ancient Egyptian and Far Eastern art in the paintings of Cimabue and El Greco and in Cloisonnism 205 Seiwert and Sandqvist both propose that Janco s work had other enduring connections with the visual conventions of Hassidism and the dark tones often favored by 20th century Jewish art 206 Around 1919 Janco had come to describe Constructivism as a needed transition from negative Dada an idea also pioneered by his colleagues Kurt Schwitters and Theo van Doesburg and finding an early expression in Janco s plaster relief Soleil jardin clair 1918 207 In part Janco s post Dadaism responded to the socialist ideals of Constructivism According to Sandqvist his affiliation to Das Neue Leben and his sporadic contacts with the Art Soviet of Munich meant that he was trying to adjust to the spirit of the age 208 Historian Hubert F van der Berg also notes that the socialist ideal of a new life implicitly adopted by Janco was a natural peacetime development of Dada s discourse about the new man 209 The activity at Contimporanul cemented Janco s belief in primitivism and the values of outsider art In a 1924 piece he argued The art of children folk art the art of psychopaths of primitive people are the liveliest ones the most expressive ones coming to us from organic depths without cultivated beauty 210 He ridiculed like Ion Vinea before him the substance of Romania s academic traditionalism notably in a provocative drawing which showed a grazing donkey under the title Tradition 211 Instead Janco was publicizing the idea that Dada and various other strands of modernism were the actual tradition for being indirectly indebted to the absurdist nature of Romanian folklore 212 The matter of Janco s own debt to his country s peasant art is more controversial In the 1920s Vinea discussed Janco s Cubism is a direct echo of an old abstract art that is supposedly native and exclusive to Romania an assumption considered exaggerated by Paul Cernat 213 Seiwert suggests that virtually none of Janco s paintings show a verifiable contact with Romanian primitivism but his opinion is questioned by Sandqvist he writes that Janco s masks and prints are homages to traditional Romanian decorative patterns 214 Beyond Constructivism edit For a while Janco rediscovered himself in abstract and semi abstract art describing the basic geometrical shapes as pure forms and art as the effort to organize these forms ideas akin with the picto poetry of Romanian avant garde writers such as Ilarie Voronca 215 After 1930 when Constructivism lost its position of leadership on Romania s artistic scene 83 216 Janco made a return to analytic Cubism echoing the early work of Picasso in his painting Peasant Woman and Eggs 186 This period centered on semi figurative cityscapes which according to critics such as Alexandru D Broșteanu 76 and Sorin Alexandrescu 217 stand out for their objectification of the human figure Also then Janco worked on seascape and still life canvasses in brown tones and Cubist arrangements 174 Diversification touched his other activities His theory of set design still mixed Expressionism into Futurism and Constructivism calling for an actor based Expressionist theater and a mechanized movement based cinema 218 However his parallel work in costume design evidenced a toning down of avant garde tendencies to the displeasure of his colleagues at Integral magazine and a growing preoccupation with commedia dell arte 219 In discussing architecture Janco described himself and the other Artistes Radicaux as the mentors of Europe s modernist urban planners including Bruno Taut and the Bauhaus group 220 The ideals of collectivism in art art as life and a Constructivist revolution dominated his programmatic texts of the mid 1920s which offered as examples the activism of De Stijl Blok and Soviet Constructivist architecture 221 His own architectural work was entirely dedicated to functionalism in his words the purpose of architecture was a harmony of forms with designs as simplified as to resemble crystals 222 His experiment on Trinității Street with its angular pattern and multicolored facade has been rated one of the most spectacular samples of Romanian modernism 71 while the buildings he designed later came with Art Deco elements including the ocean liner type balconies 181 At the other end his Predeal sanatorium was described by Sandqvist as a long narrow white building clearly signaling its function as a hospital and smoothly adapting to the landscape 109 Functionalism was further illustrated by Janco s ideas on furniture design where he favored small heights simple aesthetics as well as a maximum of comfort 223 which would pay no tribute to richness 71 Scholars have also noted that the breath of humanitarianism unites the work of Janco Maxy and Corneliu Michăilescu beyond their shared eclecticism 224 Cernat nevertheless suggests that the Contimporanul group was politically disengaged and making efforts to separate art from politics giving positive coverage to both Marxism and Italian fascism 225 In that context a more evidently Marxist form of Constructivism close to Proletkult was being taken up independently by Maxy 83 Janco s functionalist goal was still coupled with socialist imagery as in Către o arhitectură a Bucureștilor called an architectural tikkun olam by Sandqvist 75 Indebted to Le Corbusier s New Architecture 226 Janco theorized that Bucharest had the luck of not yet being systematized or built up and that it could be easily turned into a garden city without ever repeating the West s chain of mistakes 71 According to architecture historians Mihaela Criticos and Ana Maria Zahariade Janco s creed was not in fact radically different from mainstream Romanian opinions although declaring themselves committed to the modernist agenda Janco and others nuance it with their own formulas away from the abstract utopias of the International Style 227 A similar point is made by Sorin Alexandrescu who attested a general contradiction in Janco s architecture that between Janco s own wishes and those of his patrons 217 Holocaust art and Israeli abstractionism edit Soon after his first visit to Palestine and his Zionist conversion Janco began painting landscapes in optimistic tones including a general view over Tiberias 174 and bucolic watercolors 176 By the time of World War II however he was again an Expressionist fascinated with the major existential themes The war experience inspired his 1945 painting Fascist Genocide which is also seen by Grigorescu as one of his contributions to Expressionism 228 Janco s sketches of the Bucharest Pogrom are according to cultural historian David G Roskies extraordinary and in complete break with Janco s earlier surrealistic style he paraphrases the rationale for this change as Why bother with surrealism when the world itself has gone crazy 159 According to the painter s own definition I was drawing with the thirst of one who is being chased around desperate to quench it and find his refuge 6 As he recalled these works were not well received in the post war Zionist community because they evoked painful memories in a general mood of optimism as a result Janco decided to change his palette and tackle subjects which related exclusively to his new country 229 An exception to this self imposed rule was the motif of wounded soldiers which continued to preoccupy him after 1948 and was also thematically linked to the wartime massacres 230 During and after his Ofakim Hadashim engagement Marcel Janco again moved into the realm of pure abstraction which he believed represented the artistic language of a new age 231 This was an older idea as first illustrated by his 1925 attempt to create an alphabet of shapes the basis for any abstractionist composition 83 His subsequent preoccupations were linked to the Jewish tradition of interpreting symbols and he reportedly told scholar Moshe Idel I paint in Kabbalah 232 He was still eclectic beyond abstractionism and made frequent returns to brightly colored semi figurative landscapes 174 Also eclectic is Janco s sparse contribution to the architecture of Israel including a Herzliya Pituah villa that is entirely built in the non modernist Poble Espanyol style 166 Another component of Janco s work was his revisiting of earlier Dada experiments he redid some of his Dada masks 174 and supported the international avant garde group NO art 233 He later worked on the Imaginary Animals cycle of paintings inspired by the short stories of Urmuz 174 215 Meanwhile his Ein Hod project was in various ways the culmination of his promotion of folk art and in Janco s own definition my last Dada activity 204 According to some interpretations he may have been directly following the example of Hans Arp s Waggis commune which existed in 1920s Switzerland 55 154 Anthropologist Susan Slyomovics argues that the Ein Hod project as a whole was an alternative to the standard practice of Zionist colonization since instead of creating new buildings in the ancient scenery it showed attempts to cultivate the existing Arab style masonry 234 She also writes that Janco s landscapes of the place romanticize his own contact with the Palestinians and that they fail to clarify whether he thought of Arabs as refugees or as fellow inhabitants 235 Journalist Esther Zanberg describes Janco as an Orientalist driven by the mythology surrounding Israeli nationalistic Zionism 166 Art historian Nissim Gal also concludes the pastoral vision of Janco does not include any trace of the inhabitants of the former Arab village 173 Legacy edit nbsp The Janco Dada Museum with residents artwork and fragment of the Berlin WallAdmired by his contemporaries on the avant garde scene Marcel Janco is mentioned or portrayed in several works by Romanian authors In the 1910s Vinea dedicated him the poem Tuzla which is one of his first contributions to modernist literature 236 a decade later one of the Janco exhibits inspired him to write the prose poem Danțul pe franghie Dancing on a Wire 237 Following his conflict with the painter Tzara struck out all similar dedications from his own poems 55 Before their friendship waned Ion Barbu also contributed a homage to Janco referring to his Constructivist paintings as storms of protractors 124 In addition Janco was dedicated a poem by Belgian artist Emile Malespine and is mentioned in one of Marinetti s poetic texts about the 1930 visit to Romania 238 as well as in the verse of neo Dadaist Valery Oisteanu 239 Janco s portrait was painted by colleague Victor Brauner in 1924 124 According to Sandqvist there are three competing aspects in Janco s legacy which relate to the complexity of his profile In Western cultural history Marcel Janco is best known as one of the founding members of Dada in Zurich in 1916 Regarding the Romanian avant garde in the interwar period Marcel Hermann Iancu is more known as the spider in the web and as the designer of a great number of Romania s first constructivist buildings On the other hand in Israel Marcel Janco is best known as the father of the artists colony of Ein Hod and for his pedagogic achievements in the young Jewish state 240 Janco s memory is principally maintained by his Ein Hod museum The building was damaged by the 2010 forest fire but reopened and grew to include a permanent exhibit of Janco s art 174 Janco s paintings still have a measurable impact on the contemporary Israeli avant garde which is largely divided between the abstractionism he helped introduce and the neorealistic disciples of Michail Grobman and Avraham Ofek 241 The Romanian communist regime which cracked down on modernism reconfirmed the confiscation of villas built by the Birou de Studii Moderne which it then leased to other families 71 134 One of these lodgings the Wexler Villa was assigned as the residence of communist poet Eugen Jebeleanu 134 242 The regime tended to ignore Janco s contributions which were not listed in the architectural who s who 243 and it became standard practice to generally omit references to his Jewish ethnicity 6 He was however honored with a special issue of Secolul 20 literary magazine in 1979 154 and interviewed for Tribuna and Luceafărul journals 1981 1984 244 His architectural legacy was affected by the large scale demolition program of the 1980s Most of the buildings were spared however because they are scattered throughout residential Bucharest 181 Some 20 of his Bucharest structures were still standing twenty years later 243 but the lack of a renovation program and the shortages of late communism brought steady decay 71 166 181 243 After the Romanian Revolution of 1989 Marcel Janco s buildings were subject to legal battles as the original owners and their descendants were allowed to contest the nationalization 71 These landmarks like other modernist assets became treasured real estate in 1996 a Janco house was valued at 500 000 United States dollars 181 The sale of such property happened at a fast pace reportedly surpassing the standardized conservation effort and experts noted with alarm that Janco villas were being defaced with anachronistic additions such as insulated glazing 243 245 and structural interventions 134 or eclipsed by the newer highrise 246 In 2008 despite calls from within the academic community only three of his buildings had been inscribed in the National Register of Historic Monuments 243 Janco was again being referenced as a possible model for new generations of Romanian architects and urban planners In a 2011 article poet and architect August Ioan claimed Romanian architecture is apart from its few years with Marcel Janco one that has denied itself experimentation projective thinking anticipation it is content with imports copies nuances or pure and simple stagnation 247 This stance is contrasted by that of designer Radu Comșa who argues that praise for Janco often lacks the recoil of objectivity 163 Janco s programmatic texts on the issue were collected and reviewed by historian Andrei Pippidi in the 2003 retrospective anthology București Istorie și urbanism Bucharest History and Urban Planning 248 Following a proposal formulated by poet and publicist Nicolae Tzone at the Bucharest Conference on Surrealism in 2001 249 Janco s sketch for Vinea s country workshop was used in designing Bucharest s ICARE the Institute for the Study of the Romanian and European Avant garde 250 The Bazaltin building was used as the offices of TVR Cultural station 243 In the realm of visual arts curators Anca Bocăneț and Dana Herbay organized a centennial Marcel Janco exhibit at the Bucharest Museum of Art MNAR 251 with additional contributions from writer Magda Carneci 181 In 2000 his work was featured in the Jewish Art of Romania retrospective hosted by Cotroceni Palace 252 The local art market rediscovered Janco s art and in June 2009 one of his seascapes sold in auction for 130 000 Euro the second largest sum ever fetched by a painting in Romania 253 There was a noted increase in his overall market value 254 and he became interesting to art forgers 255 Outside Romania Janco s work has been reviewed in specialized monographs by Harry Seiwert 1993 256 and Michael Ilk 2001 124 257 His work as painter and sculptor has been dedicated special exhibits in Berlin 124 Essen Museum Folkwang and Budapest 257 while his architecture was presented abroad with exhibitions at the Technical University Munich and Bauhaus Center Tel Aviv 166 Among the events showcasing Janco s art some focused exclusively on his rediscovered Holocaust paintings and drawings These shows include On the Edge Yad Vashem 1990 6 and Destine la răscruce Destinies at Crossroads MNAR 2011 258 His canvasses and collages went on sale at Bonhams 176 and Sotheby s 194 See also editVisual arts in Israel Portrait of a GirlNotes edit Surname also Ianco Janko or Jancu References edit Sandqvist p 66 68 69 Sandqvist p 69 172 300 333 377 Sandqvist pp 69 79 a b Sandqvist p 69 Sandqvist pp 69 103 a b c d e f g h i j k l m n o p q r in Romanian Vlad Solomon Confesiunea unui mare artist in Observator Cultural Nr 559 January 2011 Sandqvist pp 69 70 Sandqvist p 72 Sandqvist pp 72 73 a b c d e f g in Romanian Geo Șerban Un profil Jacques Frondistul in Observator Cultural Nr 144 November 2002 Cernat Avangarda p 188 Cernat Avangarda pp 48 54 100 412 Pop Un misionar al artei noi I p 9 Sandqvist pp 4 7 29 30 75 78 81 196 Cernat Avangarda pp 50 100 Sandqvist pp 73 75 Sandqvist pp 77 141 209 263 See also Pop Un misionar al artei noi I p 9 a b c Sandqvist p 78 Cernat Avangarda pp 34 188 Cernat Avangarda p 39 Sandqvist pp 227 234 Sandqvist p 226 Sandqvist p 235 Sandqvist pp 67 78 a b Sandqvist p 237 Sandqvist pp 26 78 125 Cernat Avangarda pp 113 132 Cernat Avangarda pp 111 112 130 Sandqvist pp 78 80 a b c d e in Romanian Alina Mondini Dada trăiește in Observator Cultural Nr 261 March 2005 Sandqvist pp 26 66 78 79 190 a b Cernat Avangarda p 112 Sandqvist pp 26 66 Sandqvist p 31 See also Cernat Avangarda p 112 Sandqvist pp 66 67 97 Cernat Avangarda pp 112 116 Sandqvist pp 31 32 Sandqvist pp 27 81 Sandqvist pp 32 35 36 66 67 84 87 189 190 253 259 261 265 300 332 See also Cernat Avangarda pp 111 113 155 Pop Un misionar al artei noi I p 9 Harris Smith pp 6 44 Sandqvist pp 37 40 90 253 332 See also Cernat Avangarda p 115 Cernat Avangarda p 116 Sandqvist p 153 Sandqvist p 34 a b Kay Larson Art Signs and Symbols in New York Magazine 2 March 1987 p 96 Deborah Caplow Leopoldo Mendez Revolutionary Art and the Mexican Print University of Texas Press Austin 2007 p 38 ISBN 978 0 292 71250 8 Cernat Avangarda pp 124 126 129 Cernat Avangarda pp 120 124 Cernat Avangarda p 122 Sandqvist p 84 Sandqvist pp 42 84 Sandqvist pp 90 91 261 Harris Smith pp 43 44 Sandqvist pp 84 147 Sandqvist p 93 Cernat Avangarda pp 115 130 155 160 162 Sandqvist pp 93 94 Nicholas Zurbrugg The Parameters of Postmodernism Taylor amp Francis e library 2003 p 83 ISBN 0 203 20517 0 Sandqvist p 94 Pop Un misionar al artei noi I p 9 Sandqvist p 144 in Romanian Andrei Oișteanu Scriitorii romani și narcoticele 6 Avangardiștii Archived 5 January 2011 at the Wayback Machine in Revista 22 Nr 952 June 2008 a b c Cernat Avangarda p 130 Sandqvist pp 80 81 Sandqvist pp 81 84 Sandqvist p 95 Sandqvist pp 95 97 190 264 342 343 Van der Berg pp 139 145 147 See also Cernat Avangarda pp 130 155 160 161 Sandqvist p 96 See also Van der Berg p 147 Van der Berg pp 147 148 See also Cernat Avangarda pp 160 161 Van der Berg p 139 Sandqvist pp 91 92 See also Harris Smith p 6 Sandqvist pp 97 190 342 343 a b Grigorescu p 389 Sandqvist pp 97 99 Sandqvist pp 98 99 340 a b Sandqvist p 98 Meazzi p 122 Sandqvist p 99 a b c d e f g h i j k l m n o p q r s t u v w x y z Doina Anghel Urban Route Marcel Iancu The Beginnings of Modern Architecture in Bucharest E cart ro Association 2008 Sandqvist p 99 340 Sandqvist pp 340 344 Cernat Avangarda p 178 a b c Sandqvist p 343 a b Aurel D Broșteanu Cronica artistică Expoziția inaugurală Hasefer in Viața Romanească Nr 12 1926 p 414 Joan Simon Hedda Sterne in Art in America 1 February 2007 Cernat Avangarda pp 131 132 Sandqvist p 345 Cernat Avangarda pp 155 164 Sandqvist p 341 Sandqvist pp 93 94 Cernat Avangarda pp 130 145 232 233 Sandqvist pp 343 348 349 Cernat Avangarda pp 140 147 157 158 215 218 245 268 410 411 Sandqvist pp 345 348 350 See also Pop Un misionar al artei noi I pp 9 10 a b c d e in Romanian Mariana Vida Ipostaze ale modernismului II in Observator Cultural Nr 504 December 2009 Cernat Avangarda pp 130 145 146 157 158 161 162 178 216 Pop Un misionar al artei noi I pp 9 10 Meazzi p 123 Prat pp 99 104 Cernat Avangarda p 222 Cernat Avangarda p 247 Cernat Avangarda pp 130 217 218 Sandqvist pp 350 351 Sandqvist p 350 Cernat Avangarda p 162 164 Cernat Avangarda pp 166 169 Cernat Avangarda pp 216 217 Cernat Avangarda p 157 Grigorescu p 389 Sandqvist pp 351 354 Cernat Avangarda p 157 Sandqvist p 351 Sandqvist pp 351 352 Cernat Avangarda p 159 Sandqvist p 351 in Romanian Ioana Paverman Pop Culture in Observator Cultural Nr 436 August 2008 Nicoleta Zaharia Dan Boicea Erotismul clasicilor in Adevărul Literar și Artistic 8 October 2008 Cristian R Velescu Brancuși and the Significance of Matter Archived 3 April 2012 at the Wayback Machine in Plural Magazine Archived 21 March 2012 at the Wayback Machine Nr 11 2001 Sandqvist p 357 Cernat Avangarda pp 160 161 Pop Un misionar al artei noi II p 10 Cernat Avangarda p 154 Sandqvist p 371 a b George Topirceanu Scrieri Vol II Editura Minerva Bucharest 1983 pp 360 361 OCLC 10998949 in Romanian Gheorghe Grigurcu Despre pornografie Archived 1 December 2008 at the Wayback Machine in Romania Literară Nr 2 2007 Sandqvist pp 340 341 Sandqvist p 103 See also Cernat Avangarda p 219 Sandqvist pp 217 341 342 a b c Sandqvist pp 341 342 a b IANCU Marcel A Century of Romanian Architecture Fundatia Culturala META Retrieved 24 May 2019 in Romanian Villa Florica Chihăescu Marcel Iancu 1930 Via Bucuresti Retrieved 24 May 2019 Cernat Avangarda pp 49 100 Marcel Iancu Urban Route PDF E cart ro Association Retrieved 24 May 2019 Marcel Janco and Modernist Bucharest Adrian Yekes 29 August 2012 Retrieved 24 May 2019 About Us SANATORIUL DE NEVROZE PREDEAL Retrieved 24 May 2019 Sandqvist pp 97 98 340 377 a b c d Sandqvist p 340 a b c d Sandqvist p 378 Cernat Avangarda pp 169 171 in Romanian Filip Lucian Iorga Barbu Brezianu Archived 4 March 2016 at the Wayback Machine in Romania Literară Nr 3 2008 Cernat Avangarda p 170 171 Cernat Avangarda p 179 See also Grigorescu p 442 in Romanian Ioana Parvulescu Nonconformiștii Archived 7 September 2012 at the Wayback Machine in Romania Literară Nr 26 2001 a b c d e f in Romanian Geo Șerban Marcel Iancu la Berlin in Observator Cultural Nr 92 November 2011 in Romanian Simona Vasilache Avangarda inapoi Archived 11 August 2012 at the Wayback Machine in Romania Literară Nr 19 2006 in Romanian Paul Cernat Avangarda maghiară in Contimporanul Archived 31 March 2012 at the Wayback Machine in Apostrof Nr 12 2006 Cernat Avangarda pp 313 314 Crohmălniceanu p 618 a b in Romanian Paul Cernat Urmuziene și nu numai Plagiatele urmuziene ale unui critic polonez Recuperarea lui Jacques G Costin in Observator Cultural Nr 151 January 2003 Sandqvist p 237 See also Cernat Avangarda pp 174 176 Giovanni Lista Marinetti et le futurisme L Age d Homme Lausanne 1977 p 239 ISBN 2 8251 2414 1 Cernat Avangarda pp 177 229 232 241 244 in Romanian Geo Șerban Ascensiunea lui Dolfi Trost in Observator Cultural Nr 576 May 2011 Cernat Avangarda p 179 a b c d in Romanian Andrei Pippidi In apărarea lui Marcel Iancu Archived 4 May 2012 at the Wayback Machine in Dilema Veche Nr 357 December 2010 Ornea pp 149 156 Ornea p 149 153 See also Cernat Avangarda p 179 in Romanian Andrei Pippidi Casa din Popa Rusu in Dilema Veche Nr 232 July 2008 Crohmălniceanu pp 161 162 345 A SITE OF HISTORY AND BUCHAREST ART STRADA STEFAN LUCHIAN in Romanian 1989 PDF Muzeul Municipiului Bucharesti Retrieved 24 May 2019 The post mortem signature of Mileta Petrascu in Romanian Old and New Bucharest 17 June 2012 Retrieved 24 May 2019 in Romanian Mariana Vida Lumea Margaretei Sterian in Observator Cultural Nr 206 February 2004 Sandqvist p 218 in Romanian Simona Vasilache Vraja interzisă Archived 9 September 2012 at the Wayback Machine in Romania Literară Nr 33 2009 in Romanian Simona Vasilache Iluzia luptei Archived 4 March 2016 at the Wayback Machine in Romania Literară Nr 9 2009 in Romanian Simona Vasilache Unicate Archived 7 September 2012 at the Wayback Machine in Romania Literară Nr 28 2008 Cernat Avangarda p 207 in Romanian Alexandru Hodoș Europenii dela Cuvantul Liber Insemnări in Țara Noastră Nr 5 1924 pp 138 156 Dadaism cubism et caetera in Țara Noastră Nr 6 1924 pp 172 173 digitized by the Babeș Bolyai University Transsylvanica Online Library Angelo Mitchievici Decadență și decadentism in contextul modernității romanești și europene Editura Curtea Veche Bucharest 2011 pp 160 161 ISBN 978 606 588 133 4 Ornea pp 153 156 a b Sandqvist p 377 in Romanian Gheorghe Grigurcu Amazoana artistă Archived 4 March 2016 at the Wayback Machine in Romania Literară Nr 22 1999 a b c d e f g in Romanian Andrei Oișteanu Marcel Iancu inedit Archived 3 November 2011 at the Wayback Machine in Revista 22 Nr 1022 October 2009 a b c in Romanian Geo Șerban Constructorul Marcel Iancu in Observator Cultural Nr 573 May 2011 a b c d e f g h in Romanian Geo Șerban Ein Hod popas aniversar in Observator Cultural Nr 436 August 2008 a b c in Romanian Geo Șerban Israel 2006 A trăi istoria a face istorie in Realitatea Evreiască Nr 246 1046 February 2006 p 9 Sandqvist pp 379 380 Manor p 259 Roskies pp xi 289 291 307 Sandqvist pp 379 380 See also Cernat Avangarda p 189 a b Roskies p 289 a b Sandqvist p 380 Cernat Avangarda pp 189 409 in Romanian Mirel Horodi Pe ruta culturală București Tel Aviv in Observator Cultural Nr 570 April 2011 a b in Romanian Radu Comșa Jean David un centenar uitat Archived 2 April 2012 at the Wayback Machine in Cultura Nr 5 2008 republished by Romania Culturală Archived 2 September 2011 at the Wayback Machine Constance Harris The Way Jews Lived Five Hundred Years of Printed Words and Images McFarland amp Company Jefferson 2009 p 437 ISBN 978 0 7864 3440 4 a b c d e Marcel Janco Archived 4 April 2012 at the Wayback Machine entry in the Israel Museum s Information Center for Israeli Art retrieved 6 September 2011 a b c d e f g h i Esther Zandberg Surroundings Janko the Architect in Haaretz 15 September 2005 Catalogo XXVI Biennale di Venezia Alfieri Editore Venice 1952 pp 318 321 Slyomovics 1995 p 44 Trahair p 204 Trahair p 204 Slyomovics 2010 p 414 Trahair pp 113 114 204 Manor pp 261 276 a b Nissim Gal Art in Israel 1948 2008 A Partial Panorama permanent dead link in Middle East Review of International Affairs Nr 1 2009 a b c d e f g h i j k in Romanian Liana Saxone Horodi Marcel Ianco Jancu intr o nouă prezentare in Observator Cultural Nr 571 April 2011 a b in Romanian Iordan Datcu Amintirile lui Harry Brauner Archived 6 March 2018 at the Wayback Machine in Romania Literară Nr 25 2008 a b c d Israeli Art amp Judaica to Make First Appearance in Sale at Bonhams in London in ArtDaily retrieved 8 September 2011 Slyomovics 2010 p 427 Slyomovics 1995 pp 49 50 Cernat Avangarda p 409 Cernat Avangarda p 189 a b c d e f Jane Perlez Bucharest Rediscovers 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Archived 3 November 2011 at the Wayback Machine in Revista 22 Nr 1075 October 2010 Bibliography edit Paul Cernat Avangarda romanească și complexul periferiei primul val Cartea Romanească Bucharest 2007 ISBN 978 973 23 1911 6 Ovid Crohmălniceanu Literatura romană intre cele două războaie mondiale Vol I Editura Minerva Bucharest 1972 OCLC 490001217 Vasile Drăguț Vasile Florea Dan Grigorescu Marin Mihalache Pictura romanească in imagini Editura Meridiane Bucharest 1970 OCLC 5717220 Dan Grigorescu Istoria unei generații pierdute expresioniștii Editura Eminescu Bucharest 1980 OCLC 7463753 Susan Valeria Harris Smith Masks in Modern Drama University of California Press Berkeley etc 1984 ISBN 0 520 05095 9 Dalia Manor From Rejection to Recognition Israeli Art and the Holocaust in Dan Urian Efraim Karsh eds In Search of Identity Jewish Aspects in Israeli Culture Frank Cass London amp Portland 1999 p 253 277 ISBN 0 7146 4440 4 Barbara Meazzi Les marges du Futurisme in Francois Livi ed Futurisme et Surrealisme L Age d Homme Lausanne 2008 p 111 124 ISBN 978 2 8251 3644 7 Z Ornea Anii treizeci Extrema dreaptă romanească Editura Fundației Culturale Romane Bucharest 1995 ISBN 973 9155 43 X in Romanian Ion Pop Un misionar al artei noi Marcel Iancu I in Tribuna Nr 177 January 2010 p 9 10 Un misionar al artei noi Marcel Iancu II in Tribuna Nr 178 February 2010 p 10 11 Marie Aline Prat Peinture et avant garde au seuil des annees 30 L Age d Homme Lausanne 1984 OCLC 13759997 David G Roskies Against the Apocalypse Responses to Catastrophe in Modern Jewish Culture Syracuse University Press Syracuse 1999 ISBN 0 8156 0615 X Tom Sandqvist Dada East The Romanians of Cabaret Voltaire MIT Press Cambridge Massachusetts amp London 2006 ISBN 0 262 19507 0 Susan Slyomovics Discourses on the pre 1948 Palestinian Village The Case of Ein Hod Ein Houd in Annelies Moors Toine van Teeffelen Sharif Kanaana Ilham Abu Ghazaleh eds Discourse and Palestine Power Text and Context Het Spinhuis Amsterdam 1995 p 41 54 ISBN 90 5589 010 3 The New Ein Houd in Esther Hertzog Orit Abuhav Harvey E Goldberg Emanuel Marx eds Perspectives on Israeli Anthropology Wayne State University Press Detroit 2010 p 413 452 ISBN 978 0 8143 3050 0 Richard C S Trahair Utopias and Utopians An Historical Dictionary Greenwood Publishing Group Westport 1999 ISBN 0 313 29465 8 Hubert F van der Berg From a New Art to a New Life and a New Man Avant garde Utopianism in Dada in Sascha Bru Gunther Martens eds The Invention of Politics in the European Avant garde 1906 1940 Rodopi Publishers Amsterdam amp New York City 2006 p 133 150 ISBN 90 420 1909 3External links edit nbsp Wikimedia Commons has media related to Marcel Janco Marcel Janco collection at the Israel Museum Retrieved 1 February 2012 Marcel Janco Information Center for Israeli Art Israel Museum Retrieved 18 September 2016 Art of Marcel Janco at Europeana Retrieved 1 February 2012 Janco s works at the Museum of Modern Art Janco s profile by Petre Răileanu in Plural Magazine Nr 3 1999 Works by Marcel Janco University of Iowa International Dada Archive Ein Hod Artists Village and Janco Dada Museum official sites Contimporanul archive Babeș Bolyai University Transsylvanica Online Library Retrieved from https en wikipedia org w index php title Marcel Janco amp oldid 1206762598, wikipedia, wiki, book, books, library,

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