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Janco and attended
Janco attended Gheorghe Şincai School and studied drawing art with the Romanian Jewish painter and cartoonist Iosif Iser.
Janco also circulated stories according to which their shows were attended for informative purposes by communist theorist Vladimir Lenin and psychiatrist Carl Jung.
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.

Janco and 1930
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 Braşov home designed by Janco.
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.
Janco prepared woodcuts for the first edition of Vinea's novel Paradisul suspinelor (" The Paradise of Sobs "), printed with Editura Cultura Naţională in 1930, and for Vinea's poems in their magazine versions.
Futurism was thrown into the mix, a fact acknowledged by Janco during his 1930 encounter with Marinetti: " we were nourished by ideas and empowered to be enthusiastic.
After 1930, when Constructivism lost its position of leadership on Romania's artistic scene, Janco made a return to " analytic " Cubism, echoing the early work of Picasso in his painting Peasant Woman and Eggs.
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, as well as in the verse of neo-Dadaist Valery Oisteanu.

Janco and organized
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.
In the realm of visual arts, curators Anca Bocăneţ and Dana Herbay organized a centennial Marcel Janco exhibit at the Bucharest Museum of Art ( MNAR ), with additional contributions from writer Magda Cârneci.

Janco and by
* Cabaret Voltaire, a 1916 painting by Marcel Janco
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.
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 various paintings ) earned a living as cabaret performers.
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.
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.
The site, extended in later years, was completed with new buildings by Janco down to the mid 1930s ; this pet project resulted in some of the most experimental buildings in the history of Romanian architecture, in striking contrast with the antique design prevalent in the surrounding Hala Traian quarter.
Janco was abroad that year, as one of guests at the First Constructivist Congress, convened by Dutch artist Theo van Doesburg in Düsseldorf.
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.
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.
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.
Janco was also an occasional presence in the pages of Punct, the Dadaist-Constructivist paper put out by the socialist Scarlat Callimachi.
Janco was also called upon by authors Ion Pillat and Perpessicius to illustrate their Antologia poeţilor de azi (" The Anthology of Present-Day Poets ").
In 1926, Janco further antagonized the traditionalists by publishing sensual drawings for Camil Baltazar's book of erotic poems, Strigări trupeşti lîngă glezne (" Bodily Exhortations around the Ankles ").
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.
The architect and his patrons were undeterred by such reactions, and the Janco firm received commissions to build similar villas, as well as the Philippe Suchard pavilion at the Obor fair of 1926.
Beyond his Contimporanul affiliation, Janco rallied with the Bucharest collective Arta Nouă (" New Art "), also joined by Maxy, Brauner, Mattis-Teutsch, Petraşcu, Nina Arbore, Cornelia Babic-Daniel, Alexandru Brătăşanu, Olga Greceanu, Corneliu Michăilescu, Claudia Millian, Tania Şeptilici and others.

Janco and Contimporanul
At Contimporanul, Janco expounded a " revolutionary " vision of urban planning.
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.
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.
Together with Romanian Cubist painter M. H. Maxy, Janco was personally involved in curating the Contimporanul International Art Exhibit of 1924.
Janco was a dedicated admirer of Brâncuşi, visiting him in Paris and writing in Contimporanul about Brâncuşi's " spirituality of form " theories.
Janco was still active as the art editor of Contimporanul during its final and most eclectic series of 1929, when he took part in selecting new young contributors, such as publicist and art critic Barbu Brezianu.
Marinetti was again praised by the Contimporanul group ( Vinea, Janco, Petraşcu, Costin ) in February 1934, in an open letter stating: " We are soldiers of the same army.
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.
* December-The Bucharest International Modern Art Exhibit, an avant-garde event hosted by Contimporanul, displaying works by Constantin Brâncuşi, Hans Arp, Paul Klee, János Mattis-Teutsch, Kurt Schwitters, Michel Seuphor, Miliţa Pătraşcu, Marcel Janco, Victor Brauner, and M. H. Maxy

Janco and Futurist
In 1936, some works by Janco, Maxy and Petraşcu represented Romania at the Futurist art show in New York City.

Janco and gave
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.

Janco and speech
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.

Janco and .
In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it.
In the years prior to World War I similar art had already risen in Bucharest and other Eastern European cities ; it is likely that DADA's catalyst was the arrival in Zurich of artists like Tzara and Janco.
His publication and design of the classic audio-visual magazines Cinquième Saison and OU between 1958 and 1974, each issue containing recordings as well as texts, images, screenprints and multiples, brought together international contemporary writers and artists such as members of Lettrisme and Fluxus, Jiri Kolar, Ian Hamilton Finlay, Tom Phillips, Brion Gysin, William S. Burroughs and many others, as well as bringing the work of survivors from earlier generations such as Raoul Hausmann and Marcel Janco to a fresh audience.
About Richter's woodcuts and drawings Michel Seuphor wrote: " Richter's black-and-whites together with those of Arp and Janco, are the most typical works of the Zürich period of Dada.
Tristan Tzara and Marcel Janco, founders of the Dadaist movement, were also of Romanian origin.
Other founding members were Marcel Janco, Richard Huelsenbeck, Tristan Tzara, and Jean Arp.
Marcel Janco (,, common rendition of the Romanian name Marcel Hermann Iancu, last name also Ianco, Janko or Jancu ; May 24, 1895 – April 21, 1984 ) was a Romanian and Israeli visual artist, architect and art theorist.
Janco was a practitioner of Art Nouveau, Futurism and Expressionism before contributing his painting and stage design to Tzara's literary Dadaism.
Janco was one of the leading Romanian Jewish intellectuals of his generation.
Marcel Janco was the brother Georges and Jules Janco, who were his artistic partners during and after the Dada episode.
Marcel Janco was born on May 24, 1895 in Bucharest to an upper middle class Jewish family.
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.
Janco also became friends with pianist Clara Haskil, the subject of his first published drawing, which appeared in Flacăra magazine in March 1912.
Unlike Tzara, who refused to look back on Simbolul with anything but embarrassment, Janco was proud of this moment in life, depicting it as his first participation in artistic revolution.
After the Simbolul moment, Marcel Janco worked at Seara daily, where he took further training in draftsmanship.
Janco was also a visitor of the literary and art club meeting at the home of controversial politician and Symbolist poet Alexandru Bogdan-Piteşti, who was for a while the manager of Seara.
Years later, in 1923, Janco drew an ink portrait of Urmuz.
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.
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.

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