His sister, Lucia, was born in 1900. [141], Together with Margareta Sterian, who became his disciple, Janco was working on artistic projects involving ceramics and fresco. ), Pop, "Un 'misionar al artei noi' (II)", p.11; Sandqvist, p.248, Pop, "Un 'misionar al artei noi' (II)", p.10-11. He parted with Dada in 1919, when he and painter Hans Arp founded a Constructivist circle, Das Neue Leben. [149] 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. [39] His mask designs were popular beyond Europe, and inspired similar creations by Mexico's Germán Cueto, the "Stridentist" painter-puppeteer. [232] This was an older idea, as first illustrated by his 1925 attempt to create an "alphabet of shapes", the basis for any abstractionist composition. [71] In 1932, his villa designs were included by Alberto Sartoris in his guide to modern architecture, Gli elementi dell'architettura razionale. [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. In 1953, Marcel Janco, a Romanian painter and a founder of the Dada movement, helped transform the village into a Jewish artists\' colony, and renamed it Ein Hod. As Janco wrote, "modern architecture followed cubism." Reunited with Vinea, he founded Contimporanul, the influential tribune of the Romanian avant-garde, advocating a mix of Constructivism, Futurism and Cubism. In the 1920s, the Contimporanul leadership had sustained a xenophobic attack from the traditionalist review Țara Noastră. [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. His brother-in-law and fellow Constructivist promoter was the writer Jacques G. Costin, known as a survivor of 1940s antisemitism. [6][153] At Budeni, he and Costin hosted Betar paramilitaries, who were attempting to organize a Jewish self-defense movement. He designed some of the most innovative landmarks of downtown Bucharest. 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. [174], 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;[237] a decade later, one of the Janco exhibits inspired him to write the prose poem Danțul pe frânghie ("Dancing on a Wire"). Facts about Art Deco 9: art deco in US. Marcel Janco was born on May 24, 1895 in Bucharest to an upper middle class Jewish family. "[228] 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. Career Highlights. [221] 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. [71], Scholars have also noted that "the breath of humanitarianism" unites the work of Janco, Maxy and Corneliu Michăilescu, beyond their shared eclecticism. [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. Offered by Stern Pissarro Gallery. Deco Japan. "[248] This stance is contrasted by that of designer Radu Comșa, who argues that praise for Janco often lacks "the recoil of objectivity". "[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! [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. They then made their way to Islahiye and French Syria, crossing through the Kingdom of Iraq and Transjordan, and, on February 23, ended their journey in Tel Aviv. [95] This event reunited the major currents of Europe's modern art, reflecting Contimporanul's eclectic agenda and international profile. 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. [71][134] One of these lodgings, the Wexler Villa, was assigned as the residence of communist poet Eugen Jebeleanu. [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. [74] His friends and collaborators, among them actress Dida Solomon and journalist-director Sandu Eliad, would describe him as exceptionally charismatic and knowledgeable. [213] The matter of Janco's own debt to his country's peasant art is more controversial. [167] 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). [39][201] 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. [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. [139] 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. [150] Josine was expelled from Catholic school in 1935, the reason invoked being that her father was a Jew. [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. [195], From Iser's Postimpressionism to Expressionist Dada, Sandqvist, p.77, 141, 209, 263. During his life, Janco exhibited in many important exhibitions around the world. Dada was a unique artistic movement which had a major impact on 20th century art. [137] 1934 was the year when Janco returned as architectural theorist, with Urbanism, nu romantism ("Urbanism, Not Romanticism"), an essay in the review Orașul. 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). [26], 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;[185] 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. [216] After 1930, when Constructivism lost its position of leadership on Romania's artistic scene,[83][217] Janco made a return to "analytic" Cubism, echoing the early work of Picasso in his painting Peasant Woman and Eggs. A absolvit în 1917 Academia de ArhitecturÄ din Zurich. 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. 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. 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. [207], 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). The Dialogue between a Dead Bourgeois and the Apostle of New Living"). [234] He later worked on the Imaginary Animals cycle of paintings, inspired by the short stories of Urmuz. [80], Contimporanul followed Janco's Constructivist affiliation. Find more prominent pieces of abstract at Wikiart.org â best visual art database. He parted with Dada in 1919, when he and painter Hans Arp founded a Constructivist circle, Das Neue Leben. [6][10] The house is especially known for hosting Clara Haskil during one of her triumphant returns to Romania. "[167] Art historian Nissim Gal also concludes: "the pastoral vision of Janco [does not] include any trace of the inhabitants of the former Arab village". [155], In 1939, the Nazi-aligned Ion Gigurtu cabinet enforced racial discrimination throughout the land, and, as a consequence, Jaquesmara was confiscated by the state. [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. [212] 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. This documentary tells the story of the village\'s original inhabitants, who, after expulsion, settled only 1.5 kilometers away in the outlying hills. [154], During the first two years of World War II, although he prepared his documents and received a special passport,[156] Janco was still undecided. He was the oldest of four children. 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 [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. The building was damaged by the 2010 forest fire, but reopened and grew to include a permanent exhibit of Janco's art. He was 89 years old. [226] In that context, a more evidently Marxist form of Constructivism, close to Proletkult, was being taken up independently by Maxy. [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. [153] 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. His brother-in-law and fellow Constructivist promoter was the writer Jacques G. Costin, known as a survivor of 1940s antisemitism. Atsuko Tanaka. [205] According to some interpretations, he may have been directly following the example of Hans Arp's "Waggis" commune, which existed in 1920s Switzerland. [210], The activity at Contimporanul cemented Janco's belief in primitivism and the values of outsider art. His brothers were Iuliu (Jules) and George. History and Urban Planning"). [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. Like Art Deco, Art Nouveau is an ornamental style applied to such media as architecture, interior design, jewelry, and illustration. In the 1910s, he co-edited, with Ion Vinea and Tristan Tzara, the Romanian art magazine Simbolul. [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. [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]. Janco had joined a group of artists at the Cafe Voltaire in Zurich, Switzerland in 1916 and was among the principal founders of the Dada Movement. [68] He was also announced, with Tzara, as a contributor to the post-Dada magazine L'Esprit Nouveau, published by Paul Dermée. [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,[239] as well as in the verse of neo-Dadaist Valery Oisteanu. His brothers were Iuliu (Jules) and George. [182] In 2000, his work was featured in the "Jewish Art of Romania" retrospective, hosted by Cotroceni Palace. "[22] A third major source for Janco's imagery was Expressionism, initially coming to him from both Die Brücke artists and Oskar Kokoschka,[187] and later reactivated by his contacts at Der Sturm. [166], 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. [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. ] nevertheless, Janco was one of the buildings were spared,,! 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