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.

Janco subsequently made his first trip to British Palestine, and began arranging his and his family's relocation there.

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.

Janco later stated that, over the course of a few days, the pogrom had made him a militant Jew.

Janco himself made efforts to preserve a link with Romania, and sent albums to his artist friends beyond the Iron Curtain.

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.

However, having decided to focus on his other projects, Janco nearly abandoned his studies, and failed his final exam.

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.

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.

The Janco Dada Museum, named after Marcel Janco, in Ein Hod, Israel

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.

Marcel Janco was the brother Georges and Jules Janco, who were his artistic partners during and after the Dada episode.

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.

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.

Janco was the director and mask designer for the Dada production for another one of Kokoschka's plays, Job.

Janco recalled: " We and Tzara couldn't agree any more on the importance of Dada, and the misunderstandings accumulated.

His assimilation of Expressionism has led scholar John Willett to discuss Dadaism as visually an Expressionist sub-current, 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 ".

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 ".

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.

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 ).

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.

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.

* Works by Marcel Janco, University of Iowa International Dada Archive

A non-author performance of L ' amiral cherche une maison a louer, the simultaneous Dada poem written by Huelsenbeck with Tristan Tzara and Marcel Janco, can be heard on the audio CD Futurism and Dada Reviewed

In Zurich in 1918, he re-connected with Hans Arp and took part in several Dada activities, befriending Marcel Janco, Richard Huelsenbeck, Sophie Taeuber, and the other dadaists connected to the Cabaret Voltaire.

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.

In 1919 he also joined the group Das Neue Leben (" New Life "), that was based in Basel and featured Marcel Janco, Hans Arp, Sophie Taeuber, Augusto Giacometti, and others.

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.

Until 1934, when Marcel Janco finally received his certification, his designs continued to be officially recorded under different names, most usually attributed to a Constantin Simionescu.

1934 was the year when Janco returned as architectural theorist, with Urbanism, nu romantism (" Urbanism, Not Romanticism "), an essay in the review Oraşul.

For a second time, Janco reunited with Costin when the latter fled Communist Romania.

This had little effect on the Birous output: before 1937, Janco and his brother designed some 40 permanent or temporary structures in Bucharest, all of them located in the northern and central areas ( the " Yellow " and " Black " sectors, as they were known at the time ).

Janco also designed a house for his Simbolul friend Poldi Chapier.

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 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.

Janco also circulated stories according to which their shows were attended for informative purposes by communist theorist Vladimir Lenin and psychiatrist Carl Jung.

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.

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.

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.

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.

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.

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 ").

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.

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.

Probably commissioned by Mircea Eliade, Janco also began work on the " Alexandrescu Building ", a tenement for Eliade's sister and her family.

It cited Vinea's Greek origins as a cause for concern, and described Janco as the " painter of the cylinder ", and an alien, cosmopolitan, Jew.

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.

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.

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.