In a letter to Janco, Vinea spoke about having personally presented one of Janco's posters to modernist poet and art critic Tudor Arghezi: " said, critically, that you cannot say whether a person is talented or not on the basis of only one drawing.

These projects are joined by a private sanatorium of Predeal, which is the principal of Janco's Constructivist designs outside of Bucharest.

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 ; 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.

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 ".

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.

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.

" 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.

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.

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.

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.

The reciprocal popularization was taken up by Ma, the Vienna-based tribune of Hungarian modernists, which also published samples of Janco's graphics.

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.

After the incidents, Janco's art was openly questioned by unu contributors such as Stephan Roll.

That objection to Janco's work, and to Contimporanul in general, was also taken up in 1926 by the anti-modernist essayist I. E. Torouţiu.

In 1960, Janco's presence in Ein Hod was challenged by the returning Palestinians, who tried to reclaim the land.

" A third major source for Janco's imagery was Expressionism, initially coming to him from both Die Brücke artists and Oskar Kokoschka, and later reactivated by his contacts at Der Sturm.

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.

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.

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 ).

" 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 " which would " pay no tribute to richness ".

Janco's functionalist goal was still coupled with socialist imagery, as in Către o arhitectură a Bucureştilor, called an architectural tikkun olam by Sandqvist.

Janco's portrait was painted by colleague Victor Brauner, in 1924.

The building was damaged by the 2010 forest fire, but reopened and grew to include a permanent exhibit of Janco's art.

Janco's programmatic texts on the issue were collected and reviewed by historian Andrei Pippidi in the 2003 retrospective anthology Bucureşti – Istorie şi urbanism (" Bucharest.

Janco's studio in Ein Hod

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 ".

Others maintain that it originates from the Romanian artists Tristan Tzara and Marcel Janco's frequent use of the words da, da, meaning yes, yes in the Romanian language.

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 Dadaist popularization effort received lukewarm responses in Janco's native country, where the traditionalist press expressed alarm at being confronted with Dada precepts.

With this split, there came a certain classicization in Marcel Janco's discourse.

Contimporanul followed Janco's Constructivist affiliation.

Janco was at the time in correspondence with Dermée, who was to contribute the Contimporanul anthology of modern French poetry, and with fellow painter Michel Seuphor, who collected Janco's Constructivist sculptures.

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.

Profiting from the building boom of Greater Romania, and the rising popularity of functionalism, Janco's Birou was in much demand.

The early 1930s also witnessed Janco's participation with the literary and art society Criterion, whose leader was philosopher Mircea Eliade.

From 1929, Janco's efforts to reform the capital received administrative support from Dem.

Janco's text restated the need and opportunity for modernist urban planning, especially in Bucharest.

He was at the time completing work on the Bazaltin Company headquarters on Jianu Square, the Solly Gold tenement on Hristo Botev Avenue, the Frida Cohen tower on Stelea Spătarul Street ( the tallest among Janco's buildings ) and the highrise on Ştefan Luchian Street ( Janco's largest ), the Iluţă Laboratory on Olari Street, the Florica Reich Villa on Grigore Mora, and another home for Poldi Chapier.

" 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.

The Străuleşti Abbatoir murders and the stories of Jewish survivors also inspired several of Janco's drawings.

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 ; David, who was Janco's friend in Bucharest, joined him in Tel Aviv after an adventurous trip and internment in Cyprus.

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 ; Janco's main residence continued to be in the neighborhood of Ramat Aviv.