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 ".

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.

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.

Among the events showcasing Janco's art, some focused exclusively on his rediscovered Holocaust paintings and drawings.

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

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.

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.

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.

The influence of Germanic Postimpressionism on Janco's art was crystallized during his studies at the Federal Institute of Technology.

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.

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

Following a proposal formulated by poet and publicist Nicolae Tzone at the Bucharest Conference on Surrealism, in 2001, 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.

Another component of Janco's work was his revisiting of earlier Dada experiments: he redid some of his Dada masks, and supported the international avant-garde group NO! art.

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

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

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.

The regime tended to ignore Janco's contributions, which were not listed in the architectural who's who, and it became standard practice to generally omit references to his Jewish ethnicity.

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.

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.

" 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.

" Janco's memory is principally maintained by his Ein Hod museum.

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.

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.

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.

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

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

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.

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.

" 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.