Marcel Janco - Knowledge

1648:, his largest and most prominent, and still most well known (albeit abandoned), was built in 1935. The Solly Gold apartments on a corner on Hristo Botev Avenue (1934) is his best known smaller block, with interlocking angular volumes and balconies on all five sides visible, a double level apartment on the top, and a panel depicting Diana by Militia Pătraşcu by the door. Another well known design is the David Haimovici (1937) on Strada Olteni, its well kept smooth grey walls outlined in white, and a Mediterranean pergola on the top floor. The seven level Frida Cohen tower (1935) dominates a small roundabout on Stelea Spătarul Street with its curved balconies, while a six level one on Luchian Street, probably a real estate investment of his own, is more restrained, with long strip windows the main feature, and another panel by Milita Petraşcu in the lobby. Villas included one for Florica Reich (1936) on Grigore Mora, a simple rectangular volume with a double-height corner cut-out topped by an inventive gridded glass roof, and one for Hermina Hassner (1937), almost square in plan, and with almost the opposite effect, a first floor corner balcony wall pierced by a grid of small circular openings. Probably commissioned by Mircea Eliade, in 1935 Janco also designed the Alexandrescu Building, a severe four storey tenement for Eliade's sister and her family. One of his last projects was a collaboration with 465:, on Decebal Street. He was the oldest of four children. His brothers were Iuliu (Jules) and George. His sister, Lucia, was born in 1900. The Iancus moved from Decebal to Gândului Street, and then to Trinității, where they built one of the largest home-and-garden complexes in early 20th century Bucharest. 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. My mother, possessing a genuine musical talent, and my father, a stern man and industrious merchant, had created the conditions favorable for developing all of my aptitudes. I was of a sensitive and emotional nature, a withdrawn child who was predisposed to dreaming and meditating. I grew up dominated by a strong sense of humanity and social justice. The existence of disadvantaged, weak, people, of impoverished workers, of beggars, hurt me and, when compared to our family's decent condition, awoke in me a feeling of guilt." 1341:, and he created what is often described as the first Constructivist (and therefore Modernist) structure in Bucharest. The design was quite unlike anything seen in Bucharest before, the front facade composed of complex overlapping, projecting and receding rectangular volumes, horizontal and corner windows, three circular porthole windows, and stepped flat roof areas including a rooftop lookout. The result caused a stir in the neighborhood, and the press found it to be reminiscent of a "morgue" and a "crematorium". The architect and his patrons were undeterred by such reactions, and the Janco firm received commissions to build similar villas. 2793: 727:(as the Cabaret Voltaire crew began calling themselves), and earning special praise from Ball. 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. The actual birth of "Dadaism", at an unknown date, later formed the basis of disputes between Tzara, Ball, and Huelsenbeck. 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. Janco also circulated stories according to which their shows were attended for informative purposes by 1361:(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). The Villa Bordeanu (1930) on Labirint Street plays with symmetrical formality while the Villa Paul Iluta (1931, altered) employs bold rectangular volumes over three floors, as does the Paul Wexler Villa (1931), on Silvestru and Grigore Mora streets. The Jean Juster Villa (1931) nearby at Strada Silvestru 75 combines the bold rectangular volumes with a projecting semi-circular one. Another project was a house for his 805: 7824: 2780:

Switzerland. Anthropologist Susan Slyomovics argues that the Ein Hod project as a whole was an alternative to the standard practice of Zionist colonization, since, instead of creating new buildings in the ancient scenery, it showed attempts to cultivate the existing Arab-style masonry. She also writes that Janco's landscapes of the place "romanticize" his own contact with the Palestinians, and that they fail to clarify whether he thought of Arabs as refugees or as fellow inhabitants. Journalist Esther Zanberg describes Janco as an "

2546:, folk art, the art of psychopaths, of primitive people are the liveliest ones, the most expressive ones, coming to us from organic depths, without cultivated beauty." He ridiculed, like Ion Vinea before him, the substance of Romania's academic traditionalism, notably in a provocative drawing which showed a grazing donkey under the title "Tradition". Instead, Janco was publicizing the idea that Dada and various other strands of modernism were the actual tradition, for being indirectly indebted to the 631: 758:" painter-puppeteer. The Dadaist popularization effort received lukewarm responses in Janco's native country, where the traditionalist press expressed alarm at being confronted with Dada precepts. 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 a letter to Janco, Vinea spoke about having personally presented one of Janco's posters to modernist poet and art critic 1087:. 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. Some researchers have attributed the change exclusively to the painter's growing say in editorial policy. Janco was at the time in correspondence with Dermée, who was to contribute the 1031:

own family. His first known design, constructed in 1922 and officially registered as the work of one I. Rosenthal, is a group of seven alley houses, 3 pairs and corner residence, on his father Hermann Iancu's property, at 79 Maximilian Popper Street (prev Trinității Street 29); one of these became his new home. Essentially traditional in style, they are also somewhat stylised, recalling the plainness of the English Arts & Crafts or the Czech 'Cubist' style.

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1926 of a small apartment building near his earlier houses, also built for his father Herman, with an apartment for Herman, one for Marcel as well as his rooftop studio. The structure simply follows the curved line of the corner lot, the severe elevations devoid of decoration, enlivened only by a triangular bay window and balcony above, and a scheme of different colours (now lost) applied to the three wall areas differentiated by slight variations on depth.

2072: 1798:, and began arranging his and his family's relocation there. Although Jules and his family emigrated soon after the visit, Marcel returned to Bucharest and, shortly before Jewish art was officially censored, had his one last exhibit there, together with Milița Petrașcu. He was also working on one of his last, and most experimental, contributions to Romanian architecture: the Hermina Hassner Villa (which also hosted his 1928 painting of the 1898: 667:. His real ambition, later confessed, was to pursue more training in painting. 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 paintings) earned a living as cabaret performers. Marcel was noted for performing selections from 2723:, "extraordinary" and in complete break with Janco's "earlier surrealistic style"; he paraphrases the rationale for this change as: "Why bother with surrealism when the world itself has gone crazy?" According to the painter's own definition: "I was drawing with the thirst of one who is being chased around, desperate to quench it and find his refuge." As he recalled, these works were not well received in the post-war 2579:, stand out for their objectification of the human figure. Also then, Janco worked on seascape and still life canvasses, in brown tones and Cubist arrangements. Diversification touched his other activities. His theory of set design still mixed Expressionism into Futurism and Constructivism, calling for an actor-based Expressionist theater and a mechanized, movement-based, cinema. However, his parallel work in 2194:. The following year, he received the "Worthy of Tel Aviv" distinction, granted by the city government. 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. By then, Janco is said to have been concerned about the overall benefits of Jewish relocation into an Arab village. Among his final appearances in public was a 1984 interview with 33: 2838:

Marcel Hermann Iancu is more known as the spider in the web and as the designer of a great number of Romania's first constructivist buildings . 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." Janco's memory is principally maintained by his Ein Hod museum. The building was damaged by the

2631:. His own architectural work was entirely dedicated to functionalism: in his words, the purpose of architecture was a "harmony of forms", with designs as simplified as to resemble crystals. His experiment on Trinității Street, with its angular pattern and multicolored facade, has been rated one of the most spectacular samples of Romanian modernism, while the buildings he designed later came with 2919:("Bucharest. History and Urban Planning"). 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. The Bazaltin building was used as the offices of 2691:, without ever repeating the West's "chain of mistakes". According to architecture historians Mihaela Criticos and Ana Maria Zahariade, Janco's creed was not in fact radically different from mainstream Romanian opinions: "although declaring themselves committed to the modernist agenda, nuance it with their own formulas, away from the abstract utopias of the 1888:. The Străulești Abattoir murders and the stories of Jewish survivors also inspired several of Janco's drawings. One of the victims of the Abattoir massacre was Costin's brother Michael Goldschlager. He was kidnapped from his house by Guardsmen, and his corpse was among those found hanging on hooks, mutilated in such way as to mock the Jewish 712:. With help from Segal and others, Marcel Janco was personally involved in decorating the Cabaret Voltaire. Its hectic atmosphere would inspire Janco to create an eponymous oil painting, dated 1916 and believed to have been lost. He was a major contributor to the cabaret's events: he notably carved the grotesque masks worn by performers on 2171:, poet Ștefan Iureș, painter Matilda Ulmu and art historian Geo Șerban. His studio was home to other Jewish Romanian emigrants fleeing communism, including female artist Liana Saxone-Horodi. From Israel, he spoke about his Romanian experience at length, first in an interview with writer Solo Har and then in a 1980 article for 2911:

thinking, anticipation. it is content with imports, copies, nuances or pure and simple stagnation." This stance is contrasted by that of designer Radu Comșa, who argues that praise for Janco often lacks "the recoil of objectivity". Janco's programmatic texts on the issue were collected and reviewed by historian

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engagement, Marcel Janco again moved into the realm of pure abstraction, which he believed represented the artistic "language" of a new age. This was an older idea, as first illustrated by his 1925 attempt to create an "alphabet of shapes", the basis for any abstractionist composition. His subsequent

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sanatorium was described by Sandqvist as "a long, narrow white building clearly signaling its function as a hospital" and "smoothly adapting to the landscape." Functionalism was further illustrated by Janco's ideas on furniture design, where he favored "small heights", "simple aesthetics", as well as

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A series of modernist villas for sometimes wealthy clients followed despite the Fuchs controversy. The Villa Henri Daniel (1927, demolished) on Strada Ceres returned to the almost unadorned flat facade, enlivened by a play of horizontal and vertical lines, while the Maria Lambru Villa (1928), on Popa

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Janco was again being referenced as a possible model for new generations of Romanian architects and urban planners. In a 2011 article, poet and architect August Ioan claimed: "Romanian architecture is, apart from its few years with Marcel Janco, one that has denied itself experimentation, projective

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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; a decade later, one of the Janco exhibits inspired

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For Marcel Janco, the events were an opportunity to discuss his own assimilation into Romanian society: in one of his conferences, he defined himself as "an artist who is a Jew", rather than "a Jewish artist". He later confessed his dismay at the attacks targeting him: "nowhere, never, in Romania or

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friend Poldi Chapier; located on Ipătescu Alley and finished in 1929, this is occasionally described as "Bucharest's first Cubist lodging", even though the Villa Fuchs was two year earlier. In 1931 he designed his first tenement/apartment building at Strada Caimatei 20, a small stack of 3 apartments

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club in Bucharest. His friends and collaborators, among them actress Dida Solomon and journalist-director Sandu Eliad, would describe him as exceptionally charismatic and knowledgeable. In December 1926, he was present at the Hasefer Art Show in Bucharest. Around that year, Janco took commissions as

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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 soon reconciled with his parents, and, although still unlicensed as an architect, began receiving his first commissions, some of which came from within his

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Janco recalled: "We couldn't agree any more on the importance of Dada, and the misunderstandings accumulated." There were, he noted, "dramatic fights" sparked by Tzara's taste for "bad jokes and scandal". The artist preserved a grudge, and his retrospective views on Tzara's role in Zürich are often

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and linocut, continued to be used as the illustration to Dada almanacs for another two years, but he was more often than not in disagreement with Tzara, while also trying to diversify his style. As noted by critics, he found himself split between the urge to mock traditional art and the belief that

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community, because they evoked painful memories in a general mood of optimism; as a result, Janco decided to change his palette and tackle subjects which related exclusively to his new country. An exception to this self-imposed rule was the motif of "wounded soldiers", which continued to preoccupy

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or Jean Monda, the Jancos had a decisive role in popularizing the functionalist versions of Constructivism or Cubism, designing the first examples of this new stylistic approach to be built in Romania. The first clear, though unheralded, expression of Modernism in Romania, was the construction in

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in 1932. Two more followed in 1933 on Strada Paleologu next to each other, simpler in conception, with a second one in his wife's name, and one for Jaques Costin - which features a bas relief panel of women working with wool by Militia Pătraşcu by the door. These projects are joined by a private

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s output: by the time of his last known design in 1938, Janco and his brother are thought to have designed some 40 permanent or temporary structures in Bucharest, many in the wealthier northern residential districts of Aviatorilor and Primaverii, but by far the largest concentration in or to the

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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 Zürich in 1916. Regarding the Romanian avant-garde in the interwar period

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came to include some 60 illustrations, some 40 articles on art and architectural topics, and a number of his architectural designs or photographs of buildings erected from them. He oversaw one of the journal's first special issues, dedicated to "Modern Architecture", and notably hosting his own

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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". According to some interpretations, he may have been directly following the example of Hans Arp's "Waggis" commune, which existed in 1920s

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years were a period of artistic exploration. 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. According to scholar Dan Grigorescu, his essays of the time fluctuate away from

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of the 1980s. Most of the buildings were spared, however, because they are scattered throughout residential Bucharest. Some 20 of his Bucharest structures were still standing twenty years later, but the lack of a renovation program and the shortages of late communism brought steady decay.

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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". However, his own work also features the

848:: "All the efforts by Ion Vinea to reunite them would be in vain. Iancu and Tzara would ignore (or banter) each other for the rest of their lives". With this split, there came a certain classicization in Marcel Janco's discourse. In February 1918, Janco was even invited to lecture at his 2148:: he notably maintained contacts with tribal leader Abu Hilmi and with Arab landscape artist Muin Zaydan Abu al-Hayja, but the relationship between the two villages was generally distant. Janco has also been described as "disinterested" in the fate of his Arab neighbors. 2895:, Marcel Janco's buildings were subject to legal battles, as the original owners and their descendants were allowed to contest the nationalization. These landmarks, like other modernist assets, became treasured real estate: in 1996, a Janco house was valued at 500,000 700:. Ball found the young painter especially pleasant, and was impressed that, unlike his peers, Janco was melancholy rather than ironic; other participants remember him as a very handsome presence in the group, and he allegedly had the reputation of a "lady-killer". 1278:("The Anthology of Present-Day Poets"). His portraits of the writers included, drawn in sharply modernist style, were received with amusement by the traditionalist public. In 1926, Janco further antagonized the traditionalists by publishing sensual drawings for 2554:. 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 1643:

The mid-1930s was his most prolific period as an architect, designing more villas, more small apartment buildings, and larger ones as well. His Bazaltin Company headquarters, a mixed use project os offices and apartments that rose up to a topmost 9th floor on

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From his position as Constructivist mentor and international artist, Janco proceeded to network between Romanian modernist currents, and joined up with his old colleague Vinea. Early in 1922, the two men founded a political and art magazine, the influential

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meant that he was trying to "adjust to the spirit of the age." Historian Hubert F. van der Berg also notes that the socialist ideal of "a new life", implicitly adopted by Janco, was a natural peacetime development of Dada's discourse about "the new man".

2558:. 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. 2566:

For a while, Janco rediscovered himself in abstract and semi-abstract art, describing the basic geometrical shapes as pure forms, and art as the effort to organize these forms—ideas akin with the "picto-poetry" of Romanian avant-garde writers such as

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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. By May, he was mandated by

1884:. 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 1381:, Janco's only design outside of Bucharest. Built in 1934 at the base of a wooded hill, it has the sweeping horizontals of international streamlined Modernism, with Janco's innovation of diagonally placed rooms creating a striking zigzag effect. 1119:

modernists, which also published samples of Janco's graphics. 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.

2842:, but reopened and grew to include a permanent exhibit of Janco's art. 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 2056:. 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 2869:. 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. He was however honored with a special issue of 517:, which were at the time the more radical expressions of artistic rejuvenation in Romania. Marcel and Jules Janco's first moment of cultural significance took place in October 1912, when they joined Tzara in editing the Symbolist venue 590:, the lonesome civil clerk and amateur writer who would later become the hero of Romanian modernism. Years later, in 1923, Janco drew an ink portrait of Urmuz. In maturity, he also remarked that Urmuz was the original rebel figure in 1135:

contributions to architectural theory, as well as his design of a "country workshop" for Vinea's use. Other issues also featured his essay on film and theater, his furniture designs, and his interview with the French Cubist

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Accounts of what happened next differ, but it is presumed that, shortly after the four new participants were accepted, the performances became more daring, and the transition was made from Ball's Futurism to the virulent

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of boldly projecting forms, developed himself for his family with other floors to rent, in the name of his wife Clara Janco. It is thought the studios for his Birou were on the top floor, and the design was published in

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Until 1933, when Marcel Janco finally received his certification, his designs continued to be officially recorded under different names, most usually attributed to a Constantin Simionescu. This had little effect on the

2899:. The sale of such property happened at a fast pace, reportedly surpassing the standardized conservation effort, and experts noted with alarm that Janco villas were being defaced with anachronistic additions, such as 1388:(b. 1926), and was raised a Catholic. Her sister Claude-Simone had died in infancy. 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 2139:

In 1960, Janco's presence in Ein Hod was challenged by the returning Palestinians, who tried to reclaim the land. He organized a community defense force, headed by sculptor Tuvia Iuster, which guarded Ein Hod until

1479:("The Paradise of Sobs"), printed with Editura Cultura Națională in 1930, and for Vinea's poems in their magazine versions. His drawings were used in illustrating two volumes of interviews with writers, compiled by 2256:

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." A third major source for Janco's imagery was

832:, Janco tended to support the latter. In a 1966 text, he further assessed that there were "two speeds" in Dada, and that the "spiritual violence" phase had eclipsed the "best Dadas", including his fellow painter 2392:' publicized belief that Janco was "the purest artist", his drawings evidencing the "great vital force" of his subjects. Topîrceanu's claim is contradicted by literary historian Barbu Cioculescu, who finds the 2784:" driven by "the mythology surrounding Israeli nationalistic Zionism." Art historian Nissim Gal also concludes: "the pastoral vision of Janco include any trace of the inhabitants of the former Arab village". 1586:, which, in 1933, exhibited at Dalles Hall, Bucharest. The same year, Janco erected a blockhouse for Costin (Paleologu Street, 5), which doubled as his own working address and the administrative office of 840:

sarcastic, depicting him as an excellent organizer and vindictive self-promoter, but not truly a man of culture; a few years into the scandal, he even started a rumor that Tzara was illegally trading in

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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

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A major breakthrough was his Villa for Jean Fuchs, built in 1927 on Negustori Street. Its cosmopolitan owner allowed the artist complete freedom in designing the building, and a budget of 1 million

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Outside Romania, Janco's work has been reviewed in specialized monographs by Harry Seiwert (1993) and Michael Ilk (2001). His work as painter and sculptor has been dedicated special exhibits in

2330:, have been described by reviewers as "a personal synthesis which is identifiable as his own to this day", and ranked among "the most courageous and original experiments in abstract art." 2571:. 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 2040:

Marcel Janco began his main Israeli project in May 1953, after he had been mandated by the Israeli government to prospect the mountainous regions and delimit a new national park south of

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was turned into an artist-friendly community. 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

2227:, preserved at the Janco-Dada Museum. 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 1570:. The group was mostly a venue Romania's intellectual youth, interested in redefining the national specificity around modernist values, but also offered a venue for dialogue between the 1189:. 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 1392:

home designed by Janco. The artist remarried to Clara "Medi" Goldschlager, the sister of his old friend Jacques G. Costin. The couple had a girl, Deborah Theodora ("Dadi" for short).

6701: 781:, and which was turned into one of the most notorious among Dada provocations. Janco was the director and mask designer for the Dada production for another one of Kokoschka's plays, 765:

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

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college (1953). His artwork was again on show in New York City for a 1950 retrospective. In 1952 he was one of three artists whose work was displayed at the Israeli pavilion at the

1262:("Cablegram. The Dialogue between a Dead Bourgeois and the Apostle of New Living"). In addition, his graphic work was popularized by Voronca's other magazine, the Futurist tribune 696:. Ball later recalled that four "Oriental" men introduced themselves to him late after a show—the description refers to Tzara, the older Jancos and, probably, the Romanian painter 1540:

went bankrupt, an artistic faction of the same name survived until 1936. During the interval, Janco found other backers in the specialized art and architecture magazines, such as

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and structural interventions, or eclipsed by the newer highrise. In 2008, despite calls from within the academic community, only three of his buildings had been inscribed in the

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to create and publish a journal for the movement. Although this never saw print, the preparations placed Janco in contact with the representatives of various modernist currents:

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daily, where he took further training in draftsmanship. The newspaper took him in as illustrator, probably as a result of intercessions from Vinea, its literary columnist. Their

2748:". He was still eclectic beyond abstractionism, and made frequent returns to brightly colored, semi-figurative, landscapes. Also eclectic is Janco's sparse contribution to the 1065:—historically, the longest-lived venue of the Romanian avant-garde. Janco was abroad that year, as one of guests at the First Constructivist Congress, convened by Dutch artist 2163:

of Milița Petrașcu. Costin later left Israel, settling in France. Janco himself made efforts to preserve a link with Romania, and sent albums to his artist friends beyond the

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saw this as a sexually explicit artwork, and Vinea and Janco were briefly taken into custody. Janco was a dedicated admirer of Brâncuși, visiting him in Paris and writing in

6915: 2475:, ending the "divorce" between art and life. Art critic Harry Seiwert also notes that Janco's art also reflected his contact with various other alternative models, found in 2762:

style. 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

2695:." 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. 2412:

as having generated fascination with their unusual "kinetic power", and useful for performing "larger-than-life characters and passions." However, Janco's understanding of

7057: 1763:'s Romanian minions managed to change this climate, to turn Romania into an antisemitic country." The ideological shift, he recalled, destroyed his relationships with the 7556:"Discourses on the pre-1948 Palestinian Village: The Case of Ein Hod/Ein Houd", in Annelies Moors, Toine van Teeffelen, Sharif Kanaana, Ilham Abu Ghazaleh (eds.), 2711:. By the time of World War II, however, he was again an Expressionist, fascinated with the major existential themes. The war experience inspired his 1945 painting 2011:, and Janco was a figure of prominence in the art scene of independent Israel. The new nation enlisted his services as planner, and he was assigned to the team of 4403: 2245:

to the point of pastiche. Researcher Tom Sandqvist presumes that Janco was in effect following his friends' command, as "his own preferences were soon closer to

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followed Janco's Constructivist affiliation. Initially a venue for socialist satire and political commentary, it reflected Vinea's strong dislike for the ruling

3765: 1107:, which republished his drawings alongside the contributions of various Romanian avant-garde writers and artists. The reciprocal popularization was taken up by 742:

His various contributions were harnessed by Dada's international effort of self-promotion. In April 1917, he welcomed the Dada affiliation of Switzerland's own

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origins as a cause for concern, and described Janco as the "painter of the cylinder", and an alien, cosmopolitan, Jew. That objection to Janco's work, and to

1667:. Throughout the period, Janco was still on demand as a draftsman: in 1934, his depiction of poet Constantin Nissipeanu opened the first print of Nisspeanu's 1011:, and he is known to have impressed Breton with his own architectural projects. He was also announced, with Tzara, as a contributor to the post-Dada magazine 1864:, although he prepared his documents and received a special passport, Janco was still undecided. He was still in Romania when the Iron Guard established its 2811:("Dancing on a Wire"). Following his conflict with the painter, Tzara struck out all similar dedications from his own poems. Before their friendship waned, 643: 6947: 2277:. Among his early canvasses, the self-portraits and the portraits of clowns have been discussed as particularly notable samples of Romanian Expressionism. 2451:

arts were more genuine and "spiritual" than the Renaissance and its derivatives, while also issuing special praise for the modern spirituality of Derain,

655:. According to various accounts, their departure may have been either a search for new opportunities (abundant in cosmopolitan Switzerland) or a discreet 6078: 5946: 543:, and he may even have persuaded his wealthy parents to support the venture (which closed down in early 1913). Unlike Tzara, who refused to look back on 8714: 7490: 7482: 7035: 2904: 2703:

Soon after his first visit to Palestine and his Zionist conversion, Janco began painting landscapes in optimistic tones, including a general view over

1831:. Many of the Bucharest villas he had designed, which had Jewish landlords, were also taken over forcefully by the authorities. Some months after, the 7219: 2614:

in art, "art as life", and a "Constructivist revolution" dominated his programmatic texts of the mid-1920s, which offered as examples the activism of

2942:, the second largest sum ever fetched by a painting in Romania. There was a noted increase in his overall market value, and he became interesting to 1620:, introduced him as a world-famous architect and "revolutionary", praising the diversity of his contributions. In 1935, Janco published the pamphlet 7107: 3145: 5782: 1130:

s business side, designing its offices on Imprimerie Street and overseeing the publication of postcards. Over the years, his own contributions to

746:, calling Klee's contribution to the Dada exhibit a "great event". His mask designs were popular beyond Europe, and inspired similar creations by 7171: 2716: 1881: 1747:

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

1510:

stating: "We are soldiers of the same army." These developments created a definitive split in Romania's avant-garde movement, and contributed to

5234: 5173: 1980:. 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, 1475:, Summer 1930 issue, where all 8 containing pages were purposefully left blank. Janco prepared woodcuts for the first edition of Vinea's novel 5685: 2973:. Among the events showcasing Janco's art, some focused exclusively on his rediscovered Holocaust paintings and drawings. These shows include 2103:

and, in 1956, left the group. He continued to explore new media, and, together with artisan Itche Mambush, he created a series of reliefs and

489: 7612:

Hubert F. van der Berg, "From a New Art to a New Life and a New Man. Avant-garde Utopianism in Dada", in Sascha Bru, Gunther Martens (eds.),

6785: 4176: 2506:

Around 1919, Janco had come to describe Constructivism as a needed transition from "negative" Dada, an idea also pioneered by his colleagues

7013: 2396:

drawings: "exquisitely synthetic—some of them masterpieces; take it from someone who has seen from up close many of the writers portrayed".

2356:

and probably alludes to the seedier side of urban life. The Expressionist transfiguration of shapes was especially noted in his drawings of

571:

s cultural editor. Janco was also a visitor of the literary and art club meeting at the home of controversial politician and Symbolist poet

8769: 8719: 8699: 6698: 2016: 1434:

during its final and most eclectic series of 1929, when he took part in selecting new young contributors, such as publicist and art critic

1007:. It is not unlikely that Janco followed with curiosity the activities of Dada's Parisian cell, which were overseen by Tzara and his pupil 8729: 5908: 5368: 1771:, who reportedly concluded, after admiring a 1936 exhibit: "Too bad you're a kike!" At around that time, pianist and fascist sympathizer 1395:

With his new family, Janco lived a comfortable life, traveling throughout Europe and spending his summer vacations in the resort town of

4154:, pp. 140–147, 157–158, 215–218, 245–268, 410–411; Sandqvist, pp. 345–348, 350. See also Pop, "Un 'misionar al artei noi' (I)", pp. 9–10 2823:

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

1964:). In November 1941, Costin and his wife Laura, who had stayed behind in Bucharest, were among those deported to the occupied region of 1353:

north of the Jewish Quarter, just the east of the old town centre, reflecting the family and community ties of many of his commissions.

7251: 6103: 7197: 6727: 2518:(1918). In part, Janco's post-Dadaism responded to the socialist ideals of Constructivism. According to Sandqvist, his affiliation to 987:, where he married Amélie Micheline "Lily" Ackermann, in what was described as a gesture of fronde against his father. The girl was a 7694: 5046: 3207: 2687:, Janco theorized that Bucharest had the "luck" of not yet being systematized or built-up, and that it could be easily turned into a 1306:, Marcel Janco described Romania's capital as a chaotic, inharmonious, backward town, in which the traffic was hampered by carts and 5531: 2322:

art, or everyday objects rearranged as art—reportedly, he was the first Dadaist to experiment in such manner. His other studies, in

2310:, moves between the atmospheric qualities of a Futurism filtered through Dada and Janco's first experiments in purely abstract art. 1325:

received commissions from 1926 onwards that were occasional and small-scale. Compared with mainstream functionalist architects like

8709: 8609: 7682: 6346: 5500: 2865:, which it then leased to other families. One of these lodgings, the Wexler Villa, was assigned as the residence of communist poet 1984:, Jacob Eisenscher; David, who was Janco's friend in Bucharest, joined him in Tel Aviv after an adventurous trip and internment in 1624:("Toward an Architecture of Bucharest"), which recommended a "utopian" project to solve the city's social crisis. Like some of his 6912: 5713: 2651:" unites the work of Janco, Maxy and Corneliu Michăilescu, beyond their shared eclecticism. Cernat nevertheless suggests that the 2408:

with having helped him "interpret the soul of primitive man". A distinct application of Dada was his own work with masks, seen by

8704: 8389: 7465: 5568: 1908:

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

995:. Janco was probably in Béthune for a longer while: he was listed as one of those considered for helping to rebuild war-affected 6884: 4930: 2404:

As a Dada, Janco was interested in the raw and primitive art, generated by "the instinctive power of creation", and he credited

2099:, and headed by Zaritsky. Although he shared the artistic vision, Janco probably did not approve of Zaritsky's rejection of all 356:

before contributing his painting and stage design to Tzara's literary Dadaism. He parted with Dada in 1919, when he and painter

6308: 5974: 1084: 4975: 2144:

intervened against the protesters. Janco was generally tolerant of those Palestinians who set up the small rival community of

8459: 8429: 7587: 7452: 7353: 6576: 5759: 5416: 4873: 3596: 2124:

union's prize. Over the next two decades, Marcel Janco had several new personal exhibits, notably in Tel Aviv (1959, 1972),

1438:. At that junction, the magazine triumphantly published a "Letter to Janco", in which the formerly traditionalist architect 8624: 8559: 8484: 8454: 8434: 1945: 7710: 1794:

paramilitaries, who were attempting to organize a Jewish self-defense movement. Janco subsequently made his first trip to

762:: " said, critically, that you cannot say whether a person is talented or not on the basis of only one drawing. Rubbish." 8734: 8554: 8494: 8444: 8424: 7283: 5380: 1652:

for her family home and studio, the Villa Emil Pătraşcu (1937) at Pictor Ion Negulici Street 19, a boldly blocky design.

866:. However, having decided to focus on his other projects, Janco nearly abandoned his studies, and failed his final exam. 5824: 5205: 5145: 1988:. In particular, Janco was an early influence on three Zionist artists who had arrived to Palestine from other regions: 819:

As early as 1917, Marcel Janco began taking his distance from the movement he had helped to generate. His work, in both

8724: 8654: 8634: 8479: 8439: 8394: 7311: 6984: 5794: 5091: 3409: 2692: 2667:, was being taken up independently by Maxy. Janco's functionalist goal was still coupled with socialist imagery, as in 918: 4667: 4400: 2926:

In the realm of visual arts, curators Anca Bocăneț and Dana Herbay organized a centennial Marcel Janco exhibit at the

8574: 8544: 8419: 8409: 7625: 7607: 7565: 7548: 7530: 7473: 7438: 7420: 7082: 6816: 6414: 6381: 6252: 5018: 4504: 4373: 3762: 3717: 2938:. The local art market rediscovered Janco's art, and, in June 2009, one of his seascapes sold in auction for 130,000 2927: 2575:. This period centered on semi-figurative cityscapes, which, according to critics such as Alexandru D. Broșteanu and 2495:. Seiwert and Sandqvist both propose that Janco's work had other enduring connections with the visual conventions of 2120:

His individual contributions received further praise from his peers and his public: in 1958, he was honored with the

1925: 7120: 2655:

group was politically disengaged and making efforts to separate art from politics, giving positive coverage to both

1880:

country. His mind was made up in January 1941, when the Iron Guard's struggle for maintaining power resulted in the

1165:

s eclectic agenda and international profile. It hosted samples of works by leading modernists: the Romanians Segal,

681:. It was during this time that the young artist and his brothers began using the consecrated version of the surname 8759: 8524: 1759:

elsewhere in Europe, during peacetime or the cruel years of , did anyone ask me whether I was a Jew or... a kike.

988: 8085: 5455: 4898: 1835:

government prevented Janco from publishing his work anywhere in Romania, but he was still able to find a niche at

1298:(Office of Modern Studies), a partnership with his brother Jules (Iulius), a venture often identified by the name 8764: 8744: 8739: 8684: 8584: 8539: 8469: 8449: 6803:

Rainer Rumold, " 'No!art' Negative Aesthetics as Resistance to the Art of Forgetting", in Robert Fletcher (ed.),

5268: 4836: 4778: 2839: 2364:, created from harsh and seemingly spontaneous lines. The style was ridiculed at the time by traditionalist poet 641:

Janco eventually decided to leave Romania, probably because he wanted to attend international events such as the

6944: 6266: 5297: 1940:. The painter found his first employment as architect for Tel Aviv's city government, sharing the office with a 8754: 8619: 8549: 7753: 7412: 1854: 692:

and the other independent artists plying their trade at the Malerei building, which soon after became known as

405: 3242:, pp. 48–54, 100, 412; Pop, "Un 'misionar al artei noi' (I)", p. 9; Sandqvist, pp. 4, 7, 29-30, 75-78, 81, 196 1442:

spoke about his colleague's decade-long contribution to the development of Romanian functionalism. Beyond his

716:, gave "hissing concerts" and, in unison with Huelsenbeck and Tzara, improvised some of the first (and mostly 547:

with anything but embarrassment, Janco proudly regarded it as his first participation in artistic revolution.

468:

Janco attended Gheorghe Șincai School and studied drawing art with the Romanian Jewish painter and cartoonist

457:

Jewish family. His father, Hermann Zui Iancu, was a textile merchant. His mother, Rachel née Iuster, was from

8749: 8569: 8404: 7687: 5730: 4415: 1158:

International Art Exhibit of 1924. This event reunited the major currents of Europe's modern art, reflecting

514: 7701: 1968:. Costin survived, joining up with his sister and with Janco in Palestine, but later moved back to Romania. 723:

His work with masks became especially influential, opening up a new field of theatrical exploration for the

8659: 8644: 8629: 8489: 8464: 8110: 8099: 7968: 7803: 7579: 2738:

preoccupations were linked to the Jewish tradition of interpreting symbols, and he reportedly told scholar

2421: 1655:

Together with Margareta Sterian, who became his disciple, Janco was working on artistic projects involving

1562: 1318: 926: 237: 8327: 5326: 4976:"Urmuziene și nu numai. Plagiatele 'urmuziene' ale unui critic polonez. Recuperarea lui Jacques G. Costin" 4383: 2033:, the first year Israel had its own pavilion at the Biennale. The other two artists were Reuven Rubin and 2000:. He was soon recognized as a leading presence in the artist community, receiving Tel Aviv Municipality's 693: 462: 8674: 8664: 8604: 8594: 8564: 8514: 8474: 8414: 8399: 8348: 7988: 6406: 6235:

Christa von Lengerke, "Contemporary Painting. New Movements in Painting since 1945", in Ingo F. Walther,

2966: 2892: 2715:, which is also seen by Grigorescu as one of his contributions to Expressionism. Janco's sketches of the 2628: 1965: 4575: 2068:

and tourist attraction, and instituted the strict code of requirements for one's settlement in Ein Hod.

1849:, gave imprimatur to sketches, including the landscapes of Palestine. He was also finding work with the 1775:

also assessed that Janco's contribution to theater was the prime example of "Jewish" and "bastard" art.

1612:. Janco's text restated the need and opportunity for modernist urban planning, especially in Bucharest. 1193:. He was also involved in preparing the magazine's theatrical parties, including the 1925 production of 975:

A little more than a year after the end of war, in December 1919, Marcel and Jules left Switzerland for

572: 8679: 8669: 8649: 8639: 8599: 8589: 8534: 8499: 7599: 5779: 2284:. His more important teachers there, Sandqvist observes, were sculptor Johann Jakob Graf and architect 1832: 1828: 1302:, combining the two brothers as one. Heralding the change of architectural tastes with his articles in 7873: 7723: 7168: 5388: 2280:

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

8529: 7522: 3588: 2792: 2413: 2220: 2008: 1976:

During his years in British Palestine, Marcel Janco became a noted participant in the development of

1499: 869:

In this context, he moved closer to the cell of post-Dada Constructivists exhibiting collectively as

619: 582:

It is possible that, during those years, Tzara and Janco first came to hear and be influenced by the

2298:

decorations needed to an integral part of the basic architectural design. In paintings from Janco's

1675:, to illustrate the Perpessicius edition of Caragiale's poems. His prints also served to illustrate 1556:. In 1932, his villa designs were included by Alberto Sartoris in his guide to modern architecture, 8519: 8504: 4601: 1873: 1865: 1779: 1645: 1439: 1166: 922: 284: 8337: 7241: 7062: 4070: 2879: 2223:

techniques; Liana Saxone-Horodi believes that Iser's manner is most evident in Janco's 1911 work,

2060:. His plot of land in Ein Hod was previously owned by the Arab Abu Faruq, who died in 1991 at the 1663:. In 1936, some works by Janco, Maxy and Petrașcu represented Romania at the Futurist art show in 8579: 8276: 8078: 4639: 4006: 3505:

Sandqvist, pp. 32, 35–36, 66–67, 84, 87, 189–190, 253, 259, 261, 265, 300, 332. See also Cernat,

2970: 2053: 6003: 5600: 2523: 2424:

was, according to art historians Mark Antliff and Patricia Leighten, "deeply romanticized" and "

1174: 8689: 8302: 8124: 7345: 5751: 4198:, pp. 130, 145–146, 157–158, 161–162, 178, 216; Pop, "Un 'misionar al artei noi' (I)", pp. 9–10 2749: 2683: 2480: 2295: 2082: 1933: 1877: 943: 697: 7637: 7358: 6940: 1521:

condemned Vinea and the rest for having established, through Marinetti, a connection with the

897:, the group declared its ideal of "rebuild the human community" in preparation for the end of 647:

exhibit, but also because of quarrels with his father. In quick succession after the start of

8509: 7180: 7129: 7091: 6355: 6112: 5983: 5464: 5335: 5306: 5277: 4907: 4845: 4787: 4513: 4084: 3002: 2589: 2352:

piece is a meditation on the tragedy of human existence, which reinterprets the symbolism of

2156: 1977: 1385: 1000: 878: 829: 603: 421: 8199: 7998: 7644: 6100: 2815:

also contributed a homage to Janco, referring to his Constructivist paintings as "storms of

1077:, who declared him a hard-working artist able to reconcile the modern with the traditional. 8384: 8379: 7677: 7673: 7663: 7425:

Dalia Manor, "From Rejection to Recognition: Israeli Art and the Holocaust", in Dan Urian,

5595: 5408: 2896: 2688: 2583:

evidenced a toning down of avant-garde tendencies (to the displeasure of his colleagues at

2476: 2064:

refugee camp. Janco became the site's first mayor, reorganizing it into a utopian society,

1960: 1869: 1800: 1617: 1579: 1178: 951: 660: 524: 523:, which managed to receive contributions from some of Romania's leading modern poets, from 323: 214: 4470: 3832:

Sandqvist, pp. 95–97, 190, 264, 342–343; Van der Berg, pp. 139, 145–147. See also Cernat,

2365: 1357:

Savu Street, was a simplified version of the Fuchs design. The Florica Chihăescu house on

1047:, these were informal: "We were given easels, etc. but nobody looked, nobody advised us." 804: 8: 8317: 8249: 7953: 7288: 7112: 7040: 7018: 6889: 6581: 5951: 5690: 5573: 5536: 5239: 5051: 4980: 4878: 4378: 4181: 3709: 3414: 3212: 3150: 2934:. In 2000, his work was featured in the "Jewish Art of Romania" retrospective, hosted by 2385: 2195: 2025: 1993: 1820: 1795: 1560:. The early 1930s also witnessed Janco's participation with the literary and art society 1013: 855: 709: 591: 492:, he met several students who would become his artistic companions: Tzara (known then as 140: 8234: 7973: 6343: 5497: 4829: 2044:. In his own account (since disputed by others), he came across the deserted village of 1790:

as the "cradle" and "salvation" of Jews the world over. At Budeni, he and Costin hosted

1358: 1043:

an art teacher at his studio in Bucharest—in the words of his pupil, the future painter

958:. This period also witnessed the start of a friendly relationship between Janco and the 8064: 8018: 7746: 7698: 6083: 5710: 3007: 2861:, which cracked down on modernism, reconfirmed the confiscation of villas built by the 2611: 2576: 2435:

to the level of academia: in his 1918 speech at the Zürich Institute, he declared that

2294:. Sandqvist suggests that, after modernizing Moser's ideas, Janco first theorized that 2049: 1805: 1601: 1243: 611: 500:), writers Jacques G. Costin and Poldi Chapier. Janco also became friends with pianist 454: 57: 7304: 5903: 5493: 3758: 3264:

Sandqvist, pp. 77, 141, 209, 263. See also Pop, "Un 'misionar al artei noi' (I)", p. 9

2186:

Also in 1981, a selection of Janco's drawings of Holocaust crimes was issued with the

1593:

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

824:

something just as elaborate needed to take its place: in the conflict between Tzara's

8356: 8282: 8013: 7898: 7823: 7621: 7617: 7603: 7583: 7561: 7544: 7526: 7505: 7469: 7448: 7434: 7416: 7398: 7384: 7370: 7349: 6812: 6410: 6401:

Mark Antliff, Patricia Leighten, "Primitive", in Robert S. Nelson, Richard A. Shiff,

6377: 6248: 6175: 5755: 5412: 5014: 4927: 4482: 3713: 3592: 3570: 2900: 2858: 2551: 2511: 2417: 2345: 2303: 2216: 2152: 1989: 1772: 1732: 1066: 955: 668: 595: 556: 539:

with the more conventional Symbolism. Janco was perhaps the main graphic designer of

306: 298: 178: 7838: 5971: 2985:("Destinies at Crossroads", MNAR, 2011). His canvasses and collages went on sale at 1740: 663:, where Marcel took Chemistry courses, before applying to study architecture at the 8322: 8270: 7878: 7514: 7246: 7224: 7202: 6790: 6313: 2935: 2843: 2720: 2452: 2357: 2242: 2020: 1672: 1594: 1454:, Cornelia Babic-Daniel, Alexandru Brătășanu, Olga Greceanu, Corneliu Michăilescu, 1238: 1198: 606:. Another immediate source of inspiration for his attitude on life was provided by 182: 8033: 7798: 7716: 2931: 1326: 8287: 8205: 8003: 7978: 7938: 7908: 7853: 7783: 7366: 7315: 7175: 7124: 7086: 6951: 6919: 6808: 6705: 6350: 6107: 6004:"Israeli Art & Judaica to Make First Appearance in Sale at Bonhams in London" 5978: 5786: 5734: 5717: 5504: 5459: 5330: 5301: 5272: 5098: 4934: 4902: 4840: 4782: 4508: 4478: 4419: 4407: 3769: 2958: 2866: 2847: 2827: 2753: 2733: 2660: 2648: 2507: 2496: 2290: 2268: 2129: 2091: 2077: 2030: 2001: 1997: 1929: 1846: 1752: 1649: 1522: 1455: 1404: 1399:. The Jancos and the Costins also shared ownership of a country estate: known as 1314: 1255: 1251: 1214: 1186: 1136: 1023: 996: 963: 910: 859: 808: 770: 473: 425: 293: 256: 243: 152: 8105: 7868: 4693: 2246: 2228: 1384:

Janco had one daughter from his marriage to Lily Ackermann, who signed her name

1182: 1099:, who collected Janco's Constructivist sculptures. He maintained a link between 1034:

Soon after making his comeback, Marcel Janco reconnected himself with the local

1008: 751: 8254: 8224: 8155: 8147: 8142: 7993: 7958: 7933: 7903: 7808: 7778: 6924: 6373: 6236: 5141: 5087: 5006: 4089: 2912: 2831: 2758: 2580: 2568: 2448: 2219:

and illustrating, for the first time in Janco's career, the interest in modern

1787: 1684: 1435: 1408: 1279: 1246:. It was here that he notably published articles on architectural styles and a 1229: 1202: 1170: 1144: 1096: 1074: 947: 732: 386: 327: 148: 7948: 7913: 1224:

In their work as cultural campaigners, Vinea and Janco even collaborated with

1018: 8614: 8373: 8307: 8164: 8116: 8050: 8028: 8008: 7943: 7883: 7793: 7770: 7739: 5790: 4008:

Urban Route. Marcel Iancu: The Beginnings of Modern Architecture in Bucharest

2663:. In that context, a more evidently Marxist form of Constructivism, close to 2464: 2460: 2456: 2444: 2335: 2307: 2258: 2168: 2141: 2100: 1954: 1885: 1664: 1567: 1190: 1092: 1061: 959: 894: 889:

faction, which supported an educational approach to modern art, coupled with

874: 778: 766: 759: 630: 599: 528: 369: 353: 335: 311: 231: 194: 156: 7308: 2263: 1950: 1205:, and Eliad the director. An unusual echo of the exhibit came in 1925, when 1073:. He was in Zürich around 1923, receiving the visit of a compatriot, writer 1070: 8292: 8189: 8023: 7928: 7923: 7858: 7843: 7571: 7426: 6732: 5150: 5103: 2990: 2920: 2851: 2728:

him after 1948, and was also thematically linked to the wartime massacres.

2678: 2625: 2539: 2440: 2425: 2389: 2381: 2361: 2319: 2314: 2164: 2133: 2096: 2041: 2034: 2012: 1981: 1861: 1842: 1812: 1760: 1708: 1530: 1484: 1412: 1338: 1330: 1271: 1044: 717: 532: 501: 429: 413: 409: 398: 394: 315: 266: 210: 128: 124: 112: 7374: 7079: 4501: 4068:

Aurel D. Broșteanu, "Cronica artistică. Expoziția inaugurală Hasefer", in

1913: 8332: 8312: 8194: 8071: 8057: 7888: 7813: 7519:

Against the Apocalypse: Responses to Catastrophe in Modern Jewish Culture

7509: 7337: 7117: 6728:"Modelul francez în arhitectura românească. Perioada modernă (1830-1945)" 6074: 4971: 4923: 4486: 2943: 2797: 2781: 2673: 2636: 2555: 2492: 2436: 2432: 2238: 2113: 1816: 1700: 1656: 1507: 1451: 1035: 882: 863: 845: 755: 648: 594:. In the 1910s, Janco was also interested in the parallel development of 485: 477: 374: 345: 202: 186: 160: 7570:"The New Ein Houd", in Esther Hertzog, Orit Abuhav, Harvey E. Goldberg, 7402: 7388: 6179: 5405:

Decadență și decadentism în contextul modernității românești și europene

2884: 2431:

At the end of the Dada episode, Janco also took his growing interest in

2183:

headlined a selection of his works with Janco's portrait of the author.

1604:. 1934 was the year when Janco returned as architectural theorist, with 1582:, Margareta Sterian and others, Janco represented the art collective at 1143:

issue on Surrealism, which included his interviews with writers such as

8229: 8092: 7320: 6956: 6710: 6267:"Israeli & International Art Sale To Be Held at Sotheby's New York" 6241:

Masterpieces of Western Art: A History of Art in 900 Individual Studies

5509: 5452: 4895: 3774: 3565: 2978: 2816: 2805: 2739: 2708: 2664: 2601: 2500: 2472: 2341: 2285: 2281: 2212: 2180: 2160: 2071: 2065: 2057: 1724: 1716: 1374: 1267: 1151: 909:, where his colleagues included other former Dadas: Arp, Hans Richter, 898: 850: 664: 469: 437: 218: 98: 5265: 4833: 4775: 2965:, while his architecture was presented abroad with exhibitions at the 2206: 1695: 1260:

T.S.F. Dialogue entre le bourgeois mort et l'apôtre de la vie nouvelle

1021:. Nevertheless, Janco was invited to exhibit elsewhere, rallying with 984: 925:, even offered Janco and the others virtual teaching positions at the 506: 8342: 8172: 7918: 7863: 7667: 7540: 5364: 5294: 2812: 2547: 2543: 2409: 2405: 2373: 2273: 2176: 2121: 1941: 1768: 1748: 1739:

in general, was also taken up in 1926 by the anti-modernist essayist

1633: 1598: 1571: 1471:

review—Janco is notably mentioned as a "contributor" on the cover of

1450:("New Art"), also joined by Maxy, Brauner, Mattis-Teutsch, Petrașcu, 968: 890: 743: 736: 728: 689: 685:, probably in hopes that it would sound more familiar to foreigners. 672: 634: 583: 536: 535:. The magazine nevertheless struggled to find its voice, alternating 390: 331: 261: 53: 6560:, p. 171–172, 177–179; Pop, "Un 'misionar al artei noi' (II)", p. 11 2883:

journals (1981, 1984). His architectural legacy was affected by the

1389: 1236:

and pro-Dada. Janco was also an occasional presence in the pages of

652: 102: 8297: 7893: 7848: 7457: 7443:

Barbara Meazzi, "Les marges du Futurisme", in François Livi (ed.),

4939: 2962: 2824: 2796:

The Janco-Dada Museum, with residents' artwork and fragment of the

2744: 2704: 2632: 2616: 2488: 2233: 2151:

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

2145: 2104: 1937: 1921: 1897: 1575: 1363: 833: 825: 705: 656: 607: 519: 458: 357: 349: 340: 222: 198: 168: 5748:

The Way Jews Lived: Five Hundred Years of Printed Words and Images

5725: 4412: 2596:

In discussing architecture, Janco described himself and the other

1502:, and gave a welcoming speech. Marinetti was again praised by the 1294:

Some time in the late 1920s, Janco set up an architectural studio

793:, having already created the props for its theatrical production. 8239: 7983: 7788: 7614:

The Invention of Politics in the European Avant-garde (1906-1940)

6244: 5829: 2986: 2820: 2724: 2656: 2644:"a maximum of comfort" which would "pay no tribute to richness". 2640: 2606: 2484: 2377: 2323: 2187: 2095:("New Horizons") group, comprising Israeli painters committed to 2045: 1909: 1902: 1890: 1783: 1712: 1396: 1378: 1116: 820: 796: 786: 677: 433: 136: 132: 116: 75: 6513:

Pop, "Un 'misionar al artei noi' (II)", p. 11; Sandqvist, p. 248

2306:". His series on dancers, painted before 1917 and housed by the 504:, the subject of his first published drawing, which appeared in 389:. He designed some of the most innovative landmarks of downtown 8244: 7726: 7379:

Vasile Drăguț, Vasile Florea, Dan Grigorescu, Marin Mihalache,

5391: 5323: 3509:, pp. 111–113, 155; Pop, "Un 'misionar al artei noi' (I)", p. 9 2950: 2764: 2600:

as the mentors of Europe's modernist urban planners, including

2527: 2353: 2327: 2250: 2108: 1985: 1917: 1850: 1837: 1660: 1506:

group (Vinea, Janco, Petrașcu, Costin) in February 1934, in an

1247: 1112: 1003:, and was perhaps the co-owner of an architectural enterprise, 976: 747: 713: 417: 378: 190: 164: 144: 120: 79: 32: 2288:—the latter in particular, for his ideas on the architectural 2155:. The writer was a political refugee, singled out at home for 16:

Romanian and Israeli visual artist, architect and art theorist

2954: 2773: 2125: 2061: 1957:

planned a new series of antisemitic measures and atrocities (

1791: 1755:

in 1935, the reason invoked being that her father was a Jew.

980: 841: 615: 587: 481: 7433:, Frank Cass, London & Portland, 1999, p. 253-277. 6913:"A New Promised Art" (interview with Fabien Béjean-Lebenson) 4445:, pp. 160–161; Pop, "Un 'misionar al artei noi' (II)", p. 10 2514:, and finding an early expression in Janco's plaster relief 1912:, Marcel, Medi and their two daughters left Romania through 1751:

through their public performances. Josine was expelled from

1525:. After the incidents, Janco's art was openly questioned by 1242:, the Dadaist-Constructivist paper put out by the socialist 7762: 2939: 2698: 1307: 724: 319: 206: 4602:"(in Romanian) Villa Florica Chihăescu Marcel Iancu, 1930" 1707:

By that time, the Janco family was faced with the rise of

659:

statement. Initially, the Jancos were registered with the

310:; 24 May 1895 – 21 April 1984) was a Romanian and Israeli 7198:"Cele mai scumpe 10 picturi vândute în România după 1990" 6699:"Bienala Bucureștiului. Despre producția posibilităților" 2538:

cemented Janco's belief in primitivism and the values of

2340:

Constructivism, and adopt ideas common in Expressionism,

1467: 1446:

affiliation, Janco rallied with the Bucharest collective

785:. He also returned as Tzara's illustrator, producing the 472:. In his teenage years, the family traveled widely, from 7620:, Amsterdam & New York City, 2006, p. 133-150. 7431:

In Search of Identity: Jewish Aspects in Israeli Culture

7342:

Avangarda românească și complexul periferiei: primul val

3585:

Leopoldo Méndez: Revolutionary Art and the Mexican Print

1671:; in 1936, he published a posthumous portrait of writer 453:

Marcel Janco was born on 24 May 1895 in Bucharest to an

7731: 7706: 2388:"an alcoholic fishwife". Such views were contrasted by 2167:. He met with folklorist and former political prisoner 2019:. As a result of his intervention, in 1949 the area of 1804:), the Emil Petrașcu residence, and a tower behind the 1632:, the self-styled "moderate left-wing review" and with 7220:"Un Brâncuși necunoscut, scos la vânzare în București" 4382:, Nr. 436, August 2008; Nicoleta Zaharia, Dan Boicea, 3527:

Sandqvist, pp. 37, 40, 90, 253, 332. See also Cernat,

1608:("Urbanism, Not Romanticism"), an essay in the review 1418: 858:

as related phenomena, drawing comparisons between the

688:

In this context, the Romanians came into contact with

3763:"Scriitorii români și narcoticele (6). Avangardiștii" 2772:

cycle of paintings, inspired by the short stories of

513:

As a group, the students were under the influence of

7169:"O expoziție revelatoare: Artiști evrei din România" 4325:, p. 157; Grigorescu, p. 389; Sandqvist, pp. 351–354 2198:

station, in which he revisited his Dada activities.

1868:. He was receiving and helping Jewish refugees from 1038:

salons, and had his first Romanian exhibits, at the

991:

of lowly condition, who had first met the Jancos at

7363:

Literatura română între cele două războaie mondiale

5523: 5521: 5519: 4141:, pp. 130–145, 232–233; Sandqvist, pp. 343, 348–349 2207:

From Iser's Postimpressionism to Expressionist Dada

1876:, but refused offers to emigrate into a neutral or 1517:s eventual fall: the Surrealists and socialists at 377:, advocating a mix of Constructivism, Futurism and 8695:Gheorghe Lazăr National College (Bucharest) alumni 7447:, L'Âge d'Homme, Lausanne, 2008, p. 111-124. 6526:, p. 129, 141, 171–172, 198–200, 210, 212, 407–409 3695:, pp. 115, 130, 155, 160-162; Sandqvist, pp. 93–94 2930:(MNAR), with additional contributions from writer 2756:villa that is entirely built in the non-modernist 2313:His assimilation of Expressionism has led scholar 2211:The earliest works by Janco show the influence of 2128:(1960) and Paris (1963). Having attended the 1966 2089:Also in the 1950s, Janco was a founding member of 2052:inhabitants had been largely displaced during the 1971: 1221:about Brâncuși's "spirituality of form" theories. 844:. As noted in 2007 by Romanian literary historian 4570: 4568: 3876:Sandqvist, pp. 91–92. See also Harris Smith, p. 6 2499:and the dark tones often favored by 20th-century 2015:, being tasked with designing and preserving the 1415:during one of her triumphant returns to Romania. 1147:, and his inquiry about the publisher Simon Krà. 8371: 7640:at the Israel Museum. Retrieved 1 February 2012. 7560:, Het Spinhuis, Amsterdam, 1995, p. 41-54. 7558:Discourse and Palestine: Power, Text and Context 7491:" Un 'misionar al artei noi': Marcel Iancu (II)" 7036:"Samsarii imobiliari, moștenitorii dictatorului" 6568: 6566: 6547:Pop, "Un 'misionar al artei noi' (II)", p. 10–11 6153: 6151: 6149: 5516: 5080: 5078: 5076: 5074: 2873:literary magazine, in 1979, and interviewed for 2136:of 1967, in recognition of his work as painter. 1944:survivor who informed him about the genocide in 1920:on 4 February 1941. They then made their way to 1154:, Janco was personally involved in curating the 932: 625: 7543:, Cambridge, Massachusetts & London, 2006. 7483:" Un 'misionar al artei noi': Marcel Iancu (I)" 7395:Istoria unei generații pierdute: expresioniștii 6433: 6431: 6070: 6068: 6066: 6064: 6062: 6060: 5819: 5817: 5815: 5813: 5811: 5809: 5807: 5805: 5803: 4964: 4962: 4001: 3999: 3997: 3995: 3993: 3991: 3989: 3987: 3985: 3983: 3981: 3979: 3977: 3975: 3973: 3971: 3845:Sandqvist, p. 96. See also Van der Berg, p. 147 3199: 3197: 3195: 3193: 3191: 3189: 3187: 2399: 1782:took power, Janco was coming to terms with the 7596:Utopias and Utopians: An Historical Dictionary 7502:Peinture et avant-garde au seuil des années 30 6976: 6974: 6972: 6970: 6968: 6966: 6543: 6541: 5999: 5997: 5995: 5993: 5904:"Art in Israel, 1948-2008: A Partial Panorama" 5898: 5896: 5486: 5484: 5482: 5480: 5478: 5476: 5474: 5206:"The post-mortem signature of Mileta Petrascu" 5174:"A SITE OF HISTORY AND BUCHAREST ART - STRADA 4565: 3969: 3967: 3965: 3963: 3961: 3959: 3957: 3955: 3953: 3951: 2819:". In addition, Janco was dedicated a poem by 1936:, and, on 23 February, ended their journey in 1628:colleagues, he was by then collaborating with 1487:, and Costin's only volume of prose, the 1931 1465:also reached out to the Surrealist faction at 999:, redesigned the Chevalier-Westrelin store in 921:, and Richter, who worked for the short-lived 791:The First Heavenly Adventure of Mr. Antipyrine 385:, Janco expounded a "revolutionary" vision of 7747: 7108:"Programul simpozionului international ICARE" 7000:Pop, "Un 'misionar al artei noi' (II)", p. 11 6985:"Marea arhitectură, între ruine și termopane" 6563: 6174:, Editura Meridiane, Bucharest, 1978, p. 85. 6146: 6079:"Bucharest Rediscovers Houses by a Modernist" 5947:"Marcel Ianco (Jancu) într-o nouă prezentare" 5938: 5596:"Israel 2006. A trăi istoria, a face istorie" 5587: 5585: 5583: 5071: 4558: 4556: 4554: 4466: 4464: 4168: 4166: 4164: 4162: 4160: 2647:Scholars have also noted that "the breath of 1494:Janco attended the 1930 reunion organized by 1289: 1139:. Janco was also largely responsible for the 893:ideals and Constructivist aesthetics. In its 651:, Marcel, Jules and Tzara left Bucharest for 598:, and read passionately from such authors as 408:intellectuals of his generation. Targeted by 7537:Dada East. The Romanians of Cabaret Voltaire 7275: 7273: 6786:"Literatura română și cercetările esoterice" 6428: 6057: 5936: 5934: 5932: 5930: 5928: 5926: 5924: 5922: 5920: 5918: 5845:, Alfieri Editore, Venice, 1952, pp. 318–321 5800: 5775: 5773: 5771: 5769: 5767: 5702: 5700: 5622:Manor, p. 259; Roskies, pp. xi, 289–291, 307 5387:, Nr. 6/1924, pp. 172–173 (digitized by the 4959: 4865: 4863: 4861: 4859: 4857: 4855: 3854:Van der Berg, pp. 147–148. See also Cernat, 3184: 2830:. Janco's portrait was painted by colleague 2587:magazine), and a growing preoccupation with 1823:throughout the land, and, as a consequence, 1690: 1430:Janco was still active as the art editor of 1411:. The house is especially known for hosting 720:) "simultaneous poems" to be read on stage. 6963: 6538: 6409:, Chicago & London, 2003, pp. 228–229. 6262: 6260: 5990: 5963: 5961: 5909:Middle East Review of International Affairs 5893: 5560: 5558: 5556: 5554: 5552: 5550: 5548: 5546: 5471: 3948: 3737:Pop, "Un 'misionar al artei noi' (I)", p. 9 3137: 3135: 3133: 3131: 3129: 3127: 3125: 3123: 2271:, and later reactivated by his contacts at 2007:These contacts were not interrupted by the 1578:. With Maxy, Petrașcu, Mac Constantinescu, 1286:("Bodily Exhortations around the Ankles"). 1050: 7754: 7740: 5643: 5641: 5580: 4551: 4461: 4157: 3121: 3119: 3117: 3115: 3113: 3111: 3109: 3107: 3105: 3103: 2463:; his lecture rated all Cubists above all 1310:, a city in need of Modernist revolution. 1181:, alongside Arp, Eggeling, Klee, Richter, 885:. As a result, Janco was made a member of 373:, the influential tribune of the Romanian 31: 8715:Romanian emigrants to Mandatory Palestine 7462:Anii treizeci. Extrema dreaptă românească 7270: 5915: 5854:Slyomovics (1995), p. 44; Trahair, p. 204 5764: 5697: 5655: 5653: 5631:Sandqvist, pp. 379–380. See also Cernat, 5435: 5433: 5013:, L'Âge d'Homme, Lausanne, 1977, p. 239. 4852: 4745: 4743: 4741: 4739: 4729: 4727: 4725: 4723: 4401:"Brâncuși and the Significance of Matter" 4064: 4062: 3401: 3399: 3397: 3395: 3393: 2348:suggested by anti-modernist reviews. His 2175:magazine. A year later, from his home in 905:, a more politically inclined section of 393:. He worked in many art forms, including 6945:"Viața și timpurile lui Eugen Jebeleanu" 6805:Beyond Resistance: The Future of Freedom 6257: 5958: 5686:"Pe ruta culturală București – Tel Aviv" 5543: 4052: 4050: 4048: 3893: 3891: 3788: 3786: 3784: 3435: 3433: 3387:, pp. 111–112, 130; Sandqvist, pp. 78–80 3348: 3346: 2791: 2699:Holocaust art and Israeli abstractionism 2639:"-type balconies. At the other end, his 2561: 2231:. However, his covers and vignettes for 2111:, and created humorous illustrations to 2070: 1896: 1694: 1558:Gli elementi dell'architettura razionale 1266:. Janco was also called upon by authors 803: 629: 7497:, Nr. 178, February 2010, p. 10-11 7489:, Nr. 177, January 2010, p. 9-10; 6726:Mihaela Criticos, Ana Maria Zahariade, 6170:Grigorescu, pp. 442–443; Amelia Pavel, 6101:"Recuperarea unui scriitor: Lucian Boz" 5638: 3923: 3921: 3561: 3559: 3274: 3272: 3270: 3100: 2905:National Register of Historic Monuments 2471:theory, he spoke about a return to the 1857:, located in the vicinity of Caimatei. 769:. The event featured his production of 8372: 7383:, Editura Meridiane, Bucharest, 1970. 7058:"Experiment în arhitectura românească" 5650: 5430: 4736: 4720: 4668:"Marcel Janco and Modernist Bucharest" 4059: 3390: 3084: 3082: 1727:attack from the traditionalist review 1150:Together with Romanian Cubist painter 7735: 7397:, Editura Eminescu, Bucharest, 1980. 6637:, pp. 163–164, 254, 255, 258–259, 260 6309:"Arta citadină românească. 1918-1947" 5604:, Nr. 246 (1046), February 2006, p. 9 5125:Ornea, p. 149, 153. See also Cernat, 4956:, pp. 313–314; Crohmălniceanu, p. 618 4928:"Avangarda maghiară în Contimporanul" 4817:, p. 179. See also Grigorescu, p. 442 4045: 3888: 3781: 3430: 3343: 2719:are, according to cultural historian 1209:published a photograph of Brâncuși's 854:, where he spoke about modernism and 575:, who was for a while the manager of 305: 292: 283: 7576:Perspectives on Israeli Anthropology 7014:"Pariul unei administrații europene" 4993:Sandqvist, p. 237. See also Cernat, 4535:Sandqvist, p. 103. See also Cernat, 3918: 3556: 3267: 3067:Sandqvist, p. 69, 172, 300, 333, 377 2915:in the 2003 retrospective anthology 2261:, initially coming to him from both 1853:Jewish community, designing the new 1679:("The Sadism of Truth"), written by 1554:Ziarul Științelor și al Călătoriilor 1313:Profiting from the building boom of 8770:Academic staff of Kibbutzim College 8720:Israel Prize in painting recipients 8700:Romanian expatriates in Switzerland 7252:"Falsificatorii de artă, încolțiți" 7250:, 9 February 2007; Doinel Tronaru, 6344:"Firul vremii în concertul vocilor" 5825:"Surroundings. Janko the Architect" 5210:(in Romanian) Old and New Bucharest 3487:, pp. 112–116; Sandqvist, pp. 31–32 3461:Sandqvist, p. 31. See also Cernat, 3255:, pp. 50, 100; Sandqvist, pp. 73–75 3079: 2542:. In a 1924 piece, he argued: "The 2522:and his sporadic contacts with the 2215:, adopting the visual trappings of 815:("General Basis of Painting"), 1918 330:. In the 1910s, he co-edited, with 13: 8730:20th-century Romanian male writers 7649:Information Center for Israeli Art 7582:, Detroit, 2010, p. 413-452. 7466:Editura Fundației Culturale Române 6134:Sandqvist, pp. 70, 72, 75, 86, 352 5843:Catalogo: XXVI Biennale di Venezia 5795:Information Center for Israeli Art 5381:"Dadaism, cubism, — et caetera..." 4580:A Century of Romanian Architecture 2669:Către o arhitectură a Bucureștilor 2253:-influenced modes of expression". 1872:, and hearing from them about the 1622:Către o arhitectură a Bucureștilor 1498:in honor of the visiting Futurist 675:, as well as for his rendition of 14: 8781: 7631: 7504:, L'Âge d'Homme, Lausanne, 1984. 6199:Sandqvist, pp. 81, 84, 86-87, 337 4177:"Ipostaze ale modernismului (II)" 4119:, pp. 155, 164; Sandqvist, p. 341 3427:Sandqvist, pp. 26, 66, 78-79, 190 1461:Janco and some other regulars of 1123:Marcel Janco also took charge of 901:. Janco was even affiliated with 360:founded a Constructivist circle, 7822: 7295: 7261: 7231: 7209: 7187: 7158: 7149: 7136: 7098: 7069: 7047: 7025: 7003: 6994: 6931: 6905: 6896: 6874: 6861: 6848: 6839: 6830: 6821: 6797: 6775: 6766: 6757: 6748: 6739: 6717: 6688: 6675: 6662: 6649: 6640: 6627: 6614: 6601: 6588: 6550: 6535:Sandqvist, pp. 254–255, 259, 261 6529: 6516: 6507: 6498: 6485: 6476: 6467: 6458: 6449: 6440: 6419: 6395: 6386: 6362: 6333: 6320: 6298: 6285: 6276: 6229: 6220: 6211: 6202: 6193: 6184: 6172:Expresionismul și premisele sale 6164: 6137: 6128: 6119: 6090: 6044: 6031: 6022: 6013: 5884: 5875: 5866: 5857: 5848: 5836: 5740: 5711:"Jean David – un centenar uitat" 5675: 5662: 5625: 5616: 5607: 5442: 5421: 5411:, Bucharest, 2011, pp. 160–161. 5397: 5355: 5342: 5313: 5284: 5255: 5246: 5224: 5198: 5166: 5163:Crohmălniceanu, pp. 161–162, 345 5157: 5132: 5119: 5110: 5058: 5036: 5023: 5000: 4987: 4946: 4914: 4885: 4820: 4807: 4794: 4765: 4752: 4711: 4686: 4660: 4632: 4619: 4594: 4542: 4529: 4520: 4491: 4481:, Bucharest, 1983, pp. 360–361. 4448: 4435: 4426: 4393: 4363: 4106:, pp. 131–132; Sandqvist, p. 345 2384:"a shoemaker's apprentice", and 1948:. In Romania, the new regime of 564:colleague Costin joined them as 367:Reunited with Vinea, he founded 8710:Romanian people of World War II 8610:20th-century Romanian sculptors 7331: 7309:"Ziua Holocaustului în România" 4350: 4341: 4328: 4315: 4302: 4289: 4276: 4267: 4258: 4245: 4232: 4219: 4210: 4201: 4188: 4144: 4131: 4122: 4109: 4096: 4077: 4032: 4023: 4014: 3939: 3930: 3909: 3900: 3885:Sandqvist, pp. 97, 190, 342–343 3879: 3870: 3861: 3848: 3839: 3826: 3817: 3808: 3799: 3749: 3740: 3731: 3722: 3706:The Parameters of Postmodernism 3698: 3685: 3676: 3667: 3658: 3649: 3640: 3627: 3614: 3601: 3577: 3568:, "Art. Signs and Symbols", in 3547: 3534: 3521: 3512: 3499: 3490: 3477: 3468: 3455: 3446: 3421: 3377: 3364: 3355: 3334: 3325: 3316: 3307: 3294: 3281: 3258: 3245: 3232: 3219: 3208:"Un profil: Jacques Frondistul" 3175: 2917:București – Istorie și urbanism 2282:Federal Institute of Technology 1972:In British Palestine and Israel 1711:, and alarmed by the growth of 1566:, whose leader was philosopher 1317:, and the rising popularity of 665:Federal Institute of Technology 554:moment, Marcel Janco worked at 307:[marˈtʃelˈhermanˈjaŋku] 99:Federal Institute of Technology 8705:Romanian people of World War I 8390:20th-century Romanian painters 7413:University of California Press 7116:, Nr. 64, May 2001; Reporter, 6403:Critical Terms for Art History 5972:"Amintirile lui Harry Brauner" 5185:Muzeul Municipiului Bucharesti 5092:"În apărarea lui Marcel Iancu" 4717:Sandqvist, pp. 97–98, 340, 377 3166: 3157: 3146:"Confesiunea unui mare artist" 3091: 3070: 3061: 3052: 3020: 2885:large-scale demolition program 2075:Janco (second from left) with 1860:During the first two years of 1458:, Tania Șeptilici and others. 1284:Strigări trupești lîngă glezne 1228:, a periodical edited by poet 412:persecution before and during 344:. Janco was a practitioner of 1: 7727:Transsylvanica Online Library 7381:Pictura românească în imagini 5724:, Nr. 5/2008 (republished by 5392:Transsylvanica Online Library 5047:"Ascensiunea lui Dolfi Trost" 4698:SANATORIUL DE NEVROZE PREDEAL 4011:, E-cart.ro Association, 2008 3045: 1616:, edited by Eliad and writer 1489:Exerciții pentru mâna dreaptă 933:Between Béthune and Bucharest 929:under a workers' government. 626:Swiss journey and Dada events 448: 404:Janco was one of the leading 8460:Romanian performance artists 8430:Romanian furniture designers 8273:(photographer, art promoter) 8111:Readymades of Marcel Duchamp 8100:Tulip Hysteria Co-ordinating 8086:Why Not Sneeze, Rose Sélavy? 7969:Elsa von Freytag-Loringhoven 7804:Elsa von Freytag-Loringhoven 7580:Wayne State University Press 7407:Susan Valeria Harris Smith, 7256:Adevărul Literar și Artistic 6989:Adevărul Literar și Artistic 6827:Slyomovics (1995), pp. 45–47 6495:, p. 161; Grigorescu, p. 393 6437:Slyomovics (1995), pp. 44–45 6273:; retrieved 8 September 2011 6028:Slyomovics (1995), pp. 49–50 6010:; retrieved 8 September 2011 5797:; retrieved 6 September 2011 5532:"Constructorul Marcel Iancu" 5379:, Nr. 5/1924, pp. 138, 156; 4640:"Marcel Iancu - Urban Route" 4388:Adevărul Literar și Artistic 2400:Primitive and collective art 2004:in 1945, and again in 1946. 1491:("Right-handed Exercises"). 777:, for which he was also the 443: 338:, the Romanian art magazine 318:. He was the co-inventor of 7: 8625:Romanian surrealist artists 8560:Post-impressionist painters 8485:20th-century Romanian poets 8455:Romanian cabaret performers 8435:Romanian interior designers 8349:Beatrice Wood: Mama of Dada 7989:Georges Ribemont-Dessaignes 7670:. Retrieved 1 February 2012 6455:Sandqvist, pp. 305–306, 343 6407:University of Chicago Press 5754:, Jefferson, 2009, p. 437. 5569:"Ein Hod – popas aniversar" 5033:, pp. 177, 229–232, 241–244 4548:Sandqvist, pp. 217, 341–342 4458:, p. 154; Sandqvist, p. 371 4360:, p. 159; Sandqvist, p. 351 4338:, p. 157; Sandqvist, p. 351 3544:, p. 116; Sandqvist, p. 153 2996: 2967:Technical University Munich 2893:Romanian Revolution of 1989 2629:Constructivist architecture 1723:leadership had sustained a 1232:, which was nominally anti- 637:in the "bishop dress", 1916 461:. The couple lived outside 10: 8786: 8735:20th-century accordionists 8555:Mayors of places in Israel 8495:Romanian writers in French 8445:Romanian theatre directors 8425:Romanian costume designers 7702:International Dada Archive 7600:Greenwood Publishing Group 6811:, Hauppauge, 2007, p. 23. 5235:"Lumea Margaretei Sterian" 3637:, p. 122; Sandqvist, p. 84 3361:Sandqvist, pp. 26, 78, 125 2677:by Sandqvist. Indebted to 2671:, called an architectural 1833:National Renaissance Front 1290:Functionalist breakthrough 1095:, and with fellow painter 708:performances of Tzara and 490:Gheorghe Lazăr High School 463:Bucharest's Jewish quarter 322:and a leading exponent of 297:; common rendition of the 8725:Sandberg Prize recipients 8655:Avant-garde accordionists 8635:Constructivist architects 8480:Romanian magazine editors 8440:Romanian scenic designers 8395:Architects from Bucharest 8263: 8217: 8182: 8135: 8042: 7831: 7820: 7769: 7523:Syracuse University Press 7022:, Nr. 366-367, April 2007 6893:, Nr. 165-166, April 2003 6376:, Florence, 2008, p. 26. 6247:, Cologne, 2002, p. 617. 6190:Sandqvist, pp. 80–81, 342 6019:Slyomovics (2010), p. 427 5881:Trahair, pp. 113–114, 204 5872:Slyomovics (2010), p. 414 5011:Marinetti et le futurisme 4582:. Fundatia Culturala META 3915:Sandqvist, pp. 98–99, 340 3655:Sandqvist, pp. 90–91, 261 3589:University of Texas Press 2859:Romanian communist regime 2787: 2768:. He later worked on the 2635:elements, including the " 2467:. In his contribution to 2370:Antologia poeților de azi 2179:, the modernist promoter 1874:concentration camp system 1786:ideology, describing the 1699:Janco and friends in the 1691:Persecution and departure 1500:Filippo Tommaso Marinetti 1282:'s book of erotic poems, 1276:Antologia poeților de azi 962:artists who published in 622:and his artists' circle. 620:Filippo Tommaso Marinetti 250: 174: 108: 94: 86: 64: 42: 30: 23: 8575:Art Nouveau illustrators 8545:Israeli conservationists 8420:Romanian collage artists 8410:Romanian watercolourists 7761: 7707:Ein Hod Artists' Village 7445:Futurisme et Surréalisme 7324:, Nr. 1075, October 2010 7292:, Nr. 207, February 2004 6836:Slyomovics (1995), p. 47 6736:, Nr. 157, February 2007 6704:1 September 2012 at the 6125:Slyomovics (1995), p. 51 5733:2 September 2011 at the 5513:, Nr. 1022, October 2009 5329:7 September 2012 at the 5271:9 September 2012 at the 5243:, Nr. 206, February 2004 5107:, Nr. 357, December 2010 4874:"Marcel Iancu la Berlin" 4839:7 September 2012 at the 4185:, Nr. 504, December 2009 3712:e-library, 2003, p. 83. 3474:Sandqvist, pp. 66–67, 97 3216:, Nr. 144, November 2002 3058:Sandqvist, p. 66, 68, 69 3013: 2296:Abstract-Expressionistic 2159:, and implicated in the 1866:National Legionary State 1829:confiscated by the state 1780:National Christian Party 1440:George Matei Cantacuzino 1201:; Janco was the set and 979:. After passing through 923:Bavarian Soviet Republic 573:Alexandru Bogdan-Pitești 515:Romanian Symbolist clubs 510:magazine in March 1912. 285:[maʁˈsɛlˈjaŋkoː] 8760:Romanian erotic artists 8525:Israeli collage artists 8277:Walter Conrad Arensberg 8079:Prelude to a Broken Arm 7874:Gabrièle Buffet-Picabia 7724:Babeș-Bolyai University 7638:Marcel Janco collection 7594:Richard C. S. Trahair, 7415:, Berkeley etc., 1984. 7314:3 November 2011 at the 6950:4 November 2011 at the 6714:, Nr. 1067, August 2010 6585:, Nr. 547, October 2010 5752:McFarland & Company 5503:3 November 2011 at the 5389:Babeș-Bolyai University 4984:, Nr. 151, January 2003 4882:, Nr. 92, November 2011 4507:1 December 2008 at the 4029:Sandqvist, pp. 340, 344 3836:, pp. 130, 155, 160-161 3664:Harris Smith, pp. 43–44 3591:, Austin, 2007, p. 38. 3518:Harris Smith, pp. 6, 44 3313:Sandqvist, pp. 227, 234 3154:, Nr. 559, January 2011 2971:Bauhaus Center Tel Aviv 2928:Bucharest Museum of Art 2863:Birou de Studii Moderne 2201: 1928:, crossing through the 1916:harbor, and arrived in 1636:'s modernist magazine, 1296:Birou de Studii Moderne 1027:, a Cubist collective. 917:were in touch with the 813:Generalbass der Malerei 432:, and was a founder of 8765:Israeli erotic artists 8745:21st-century ceramists 8740:20th-century ceramists 8685:Artists from Bucharest 8585:Expressionist painters 8540:Israeli civil servants 8470:20th-century essayists 8450:Romanian accordionists 8303:Anarchism and the arts 8125:Handkerchief of Clouds 7809:Juliette Roche Gleizes 7685:by Petre Răileanu, in 7044:, Nr. 487, August 2009 6446:Sandqvist, pp. 254–255 5613:Sandqvist, pp. 379–380 5577:, Nr. 436, August 2008 4901:11 August 2012 at the 4562:Sandqvist, pp. 341–342 4526:Sandqvist, pp. 340–341 4384:"Erotismul clasicilor" 4347:Sandqvist, pp. 351–352 4264:Sandqvist, pp. 350–351 3768:5 January 2011 at the 3673:Sandqvist, pp. 84, 147 3097:Sandqvist, pp. 69, 103 2800: 2750:architecture of Israel 2573:Peasant Woman and Eggs 2483:, in the paintings of 2318:quintessentially Dada 2225:Self-portrait with Hat 2192:Kav Haketz/On the Edge 2086: 2083:Tel Aviv Museum of Art 2017:Israeli national parks 1905: 1715:movements such as the 1704: 1606:Urbanism, nu romantism 1085:National Liberal Party 816: 797:"Two-speeds" Dada and 638: 8755:Romanian illustrators 8620:Contimporanul writers 8550:Israeli accordionists 8338:Épater la bourgeoisie 7695:Works by Marcel Janco 7409:Masks in Modern Drama 7267:Sandqvist, pp. 11, 73 6983:Victoria Anghelescu, 6918:23 March 2012 at the 6577:"Regîndirea orașului" 6504:Crohmălniceanu, p. 60 6464:Prat, pp. 51, 99, 104 6349:28 March 2014 at the 5955:, Nr. 571, April 2011 5945:Liana Saxone-Horodi, 5694:, Nr. 570, April 2011 5498:"Marcel Iancu inedit" 4933:31 March 2012 at the 4647:E-cart.ro Association 4418:21 March 2012 at the 4399:Cristian R. Velescu, 4074:, Nr. 12/1926, p. 414 4020:Sandqvist, p. 99, 340 3814:Sandqvist, pp. 81, 84 3646:Sandqvist, pp. 42, 84 3574:, 2 March 1987, p. 96 3496:Sandqvist, pp. 27, 81 3452:Sandqvist, pp. 26, 66 3418:, Nr. 261, March 2005 3340:Sandqvist, pp. 67, 78 3076:Sandqvist, pp. 69, 79 3003:Visual arts in Israel 2897:United States dollars 2795: 2731:During and after his 2610:group. The ideals of 2562:Beyond Constructivism 2368:, who wrote that, in 2107:. Janco also drew in 2074: 2009:1948 Arab–Israeli War 1900: 1821:racial discrimination 1778:When the antisemitic 1698: 1529:contributors such as 1386:Josine Ianco-Starrels 983:, the painter was in 807: 633: 604:Guillaume Apollinaire 422:Mandate for Palestine 294:[maʁsɛlʒɑ̃ko] 8750:Israeli illustrators 8570:Art Nouveau painters 8405:Romanian printmakers 7678:Museum of Modern Art 7242:"Sculpturi piratate" 7174:4 March 2016 at the 7155:Sandqvist, pp. 9, 67 7123:4 March 2016 at the 7085:4 March 2016 at the 7078:Dorin-Liviu Bîtfoi, 6960:, Nr. 1106, May 2011 6482:Van der Berg, p. 146 6208:Sandqvist, pp. 86–87 6106:4 March 2016 at the 5977:6 March 2018 at the 5785:4 April 2012 at the 5716:2 April 2012 at the 5601:Realitatea Evreiască 5458:4 March 2016 at the 5409:Editura Curtea Veche 5403:Angelo Mitchievici, 5300:4 March 2016 at the 5154:, Nr. 232, July 2008 5146:"Casa din Popa Rusu" 4781:4 March 2016 at the 4774:Filip-Lucian Iorga, 4502:"Despre pornografie" 4406:3 April 2012 at the 4128:Sandqvist, pp. 93–94 3906:Sandqvist, pp. 97–99 3867:Van der Berg, p. 139 3805:Sandqvist, pp. 80–81 3778:, Nr. 952, June 2008 3710:Taylor & Francis 3181:Sandqvist, pp. 72–73 3163:Sandqvist, pp. 69–70 2157:"Zionist" activities 1961:Holocaust in Romania 1870:Nazi-occupied Europe 1801:Jardin du Luxembourg 1719:. In the 1920s, the 1618:Cicerone Theodorescu 1580:Petre Iorgulescu-Yor 1477:Paradisul suspinelor 1403:, it was located in 1274:to illustrate their 1175:János Mattis-Teutsch 1091:anthology of modern 952:Alexej von Jawlensky 927:Academy of Fine Arts 775:Sphinx und Strohmann 661:University of Zurich 614:movement created in 525:Alexandru Macedonski 424:in 1941. He won the 303:Marcel Hermann Iancu 47:Marcel Hermann Iancu 8660:Romanian socialists 8645:Futurist architects 8630:Art Deco architects 8490:Romanian male poets 8465:Romanian columnists 8318:Appropriation (art) 8250:Monochrome painting 7954:Richard Huelsenbeck 7664:Art of Marcel Janco 7468:, Bucharest, 1995. 7369:, Bucharest, 1972. 7359:Ovid Crohmălniceanu 7348:, Bucharest, 2007. 7289:Observator Cultural 7118:"Reporter european" 7113:Observator Cultural 7041:Observator Cultural 7019:Observator Cultural 6941:Vladimir Tismăneanu 6890:Observator Cultural 6754:Manor, pp. 259, 261 6582:Observator Cultural 6392:Harris Smith, p. 44 5952:Observator Cultural 5890:Manor, pp. 261, 276 5833:, 15 September 2005 5691:Observator Cultural 5574:Observator Cultural 5540:, Nr. 573, May 2011 5537:Observator Cultural 5451:Gheorghe Grigurcu, 5240:Observator Cultural 5178:(in Romanian) 1989" 5055:, Nr. 576, May 2011 5052:Observator Cultural 4981:Observator Cultural 4896:"Avangarda înapoi!" 4879:Observator Cultural 4500:Gheorghe Grigurcu, 4379:Observator Cultural 4182:Observator Cultural 3704:Nicholas Zurbrugg, 3415:Observator Cultural 3213:Observator Cultural 3151:Observator Cultural 2983:Destine la răscruce 2693:International Style 2516:Soleil jardin clair 2196:Schweizer Fernsehen 2026:Seminar HaKibbutzim 1994:Yehezkel Streichman 1731:. It cited Vinea's 1677:Sadismul adevărului 1167:Constantin Brâncuși 1005:Ianco & Déquire 856:authenticity in art 710:Richard Huelsenbeck 592:Romanian literature 8675:Utopian socialists 8665:Israeli socialists 8605:Abstract sculptors 8595:Futurist sculptors 8565:Symbolist painters 8515:Israeli architects 8475:Romanian essayists 8415:Romanian ceramists 8400:Romanian muralists 8352:(1993 documentary) 8019:Sophie Taeuber-Arp 7999:Henri-Pierre Roché 7699:University of Iowa 7602:, Westport, 1999. 7553:Susan Slyomovics, 7525:, Syracuse, 1999. 7500:Marie-Aline Prat, 7258:, 26 November 2011 7228:, 16 December 2010 7218:Daniel Nicolescu, 7206:, 2 September 2009 7196:Remus Andrei Ion, 6784:Marius Vasileanu, 6745:Grigorescu, p. 453 6342:Barbu Cioculescu, 6317:, 2 September 2009 6282:Grigorescu, p. 393 6217:Grigorescu, p. 243 6084:The New York Times 5746:Constance Harris, 5453:"Amazoana artistă" 5427:Ornea, pp. 153–156 5322:Simona Vasilache, 5293:Simona Vasilache, 5264:Simona Vasilache, 5116:Ornea, pp. 149–156 5097:4 May 2012 at the 4894:Simona Vasilache, 4255:, pp. 130, 217–218 3897:Grigorescu, p. 389 3611:, pp. 124–126, 129 3008:Portrait of a Girl 2809:Danțul pe frânghie 2801: 2590:commedia dell'arte 2577:Sorin Alexandrescu 2087: 2081:colleagues at the 1906: 1901:Janco's studio in 1705: 1602:Mayor of Bucharest 1300:Marcel Iuliu Iancu 1244:Scarlat Callimachi 1115:-based tribune of 954:, Oscar Lüthy and 830:art for art's sake 817: 811:'s drawings for a 639: 612:anti-establishment 455:upper middle class 8680:Romanian Zionists 8670:Jewish socialists 8650:Modernist theatre 8640:Cubist architects 8600:Abstract painters 8590:Futurist painters 8535:Israeli sculptors 8500:Jewish architects 8367: 8366: 8357:Man and Boy: Dada 8283:291 (art gallery) 8014:Philippe Soupault 7899:Theo van Doesburg 7711:Janco-Dada Museum 7618:Rodopi Publishers 7588:978-0-8143-3050-0 7453:978-2-8251-3644-7 7354:978-973-23-1911-6 7346:Cartea Românească 7284:"O toamnă bogată" 7012:Luminița Batali, 6991:, 5 November 2008 6845:Sandqvist, p. 136 6794:, 2 December 2010 6646:Sandqvist, p. 342 6368:Federica Pirani, 6087:, 14 January 1997 5823:Esther Zandberg, 5760:978-0-7864-3440-4 5727:România Culturală 5659:Sandqvist, p. 380 5439:Sandqvist, p. 377 5417:978-606-588-133-4 5266:"Vraja interzisă" 5252:Sandqvist, p. 218 4834:"Nonconformiștii" 4749:Sandqvist, p. 378 4733:Sandqvist, p. 340 4471:George Topîrceanu 4432:Sandqvist, p. 357 4273:Sandqvist, p. 350 4216:Prat, pp. 99, 104 4093:, 1 February 2007 4056:Sandqvist, p. 343 3746:Sandqvist, p. 144 3597:978-0-292-71250-8 3571:New York Magazine 3352:Sandqvist, p. 237 3331:Sandqvist, p. 235 3322:Sandqvist, p. 226 2901:insulated glazing 2804:him to write the 2770:Imaginary Animals 2598:Artistes Radicaux 2552:Romanian folklore 2512:Theo van Doesburg 2366:George Topîrceanu 2346:Byzantine revival 2217:Postimpressionism 2153:Communist Romania 1990:Avigdor Stematsky 1819:cabinet enforced 1796:British Palestine 1773:Cella Delavrancea 1067:Theo van Doesburg 956:Enrico Prampolini 919:German Revolution 915:Artistes Radicaux 903:Artistes Radicaux 873:("New Art")—Arp, 735:and psychiatrist 669:Romanian folklore 596:French literature 274: 273: 179:Postimpressionism 90:Romanian, Israeli 8777: 8530:Israeli painters 8328:Cabaret Voltaire 8323:Art intervention 8271:Alfred Stieglitz 8235:Nouveau réalisme 7974:Clément Pansaers 7879:Serge Charchoune 7826: 7756: 7749: 7742: 7733: 7732: 7713:, official sites 7660: 7658: 7656: 7515:David G. Roskies 7480: 7393:Dan Grigorescu, 7325: 7303: 7299: 7293: 7282:Florin Colonas, 7281: 7277: 7268: 7265: 7259: 7247:Ziarul Financiar 7239: 7235: 7229: 7225:Ziarul Financiar 7217: 7213: 7207: 7203:Ziarul Financiar 7195: 7191: 7185: 7181:România Literară 7166: 7162: 7156: 7153: 7147: 7140: 7134: 7130:România Literară 7106: 7102: 7096: 7092:România Literară 7077: 7073: 7067: 7063:Viața Românească 7055: 7051: 7045: 7033: 7029: 7023: 7011: 7007: 7001: 6998: 6992: 6982: 6978: 6961: 6939: 6935: 6929: 6911:Alice Pfeiffer, 6909: 6903: 6902:Sandqvist, p. 66 6900: 6894: 6885:"Revista presei" 6883:Ovidiu Drăghia, 6882: 6878: 6872: 6865: 6859: 6852: 6846: 6843: 6837: 6834: 6828: 6825: 6819: 6801: 6795: 6791:Ziarul Financiar 6783: 6779: 6773: 6770: 6764: 6761: 6755: 6752: 6746: 6743: 6737: 6725: 6721: 6715: 6696: 6692: 6686: 6679: 6673: 6666: 6660: 6653: 6647: 6644: 6638: 6631: 6625: 6618: 6612: 6605: 6599: 6592: 6586: 6575:Cezar Gheorghe, 6574: 6570: 6561: 6554: 6548: 6545: 6536: 6533: 6527: 6520: 6514: 6511: 6505: 6502: 6496: 6489: 6483: 6480: 6474: 6473:Sandqvist, p. 96 6471: 6465: 6462: 6456: 6453: 6447: 6444: 6438: 6435: 6426: 6425:Sandqvist, p. 81 6423: 6417: 6399: 6393: 6390: 6384: 6366: 6360: 6356:România Literară 6341: 6337: 6331: 6324: 6318: 6314:Ziarul Financiar 6306: 6302: 6296: 6289: 6283: 6280: 6274: 6264: 6255: 6233: 6227: 6226:Sandqvist, p. 87 6224: 6218: 6215: 6209: 6206: 6200: 6197: 6191: 6188: 6182: 6168: 6162: 6155: 6144: 6143:Sandqvist, p. 75 6141: 6135: 6132: 6126: 6123: 6117: 6113:România Literară 6098: 6094: 6088: 6072: 6055: 6048: 6042: 6035: 6029: 6026: 6020: 6017: 6011: 6001: 5988: 5984:România Literară 5969: 5965: 5956: 5944: 5940: 5913: 5900: 5891: 5888: 5882: 5879: 5873: 5870: 5864: 5861: 5855: 5852: 5846: 5840: 5834: 5821: 5798: 5777: 5762: 5744: 5738: 5708: 5704: 5695: 5683: 5679: 5673: 5666: 5660: 5657: 5648: 5645: 5636: 5629: 5623: 5620: 5614: 5611: 5605: 5593: 5589: 5578: 5566: 5562: 5541: 5529: 5525: 5514: 5492: 5488: 5469: 5465:România Literară 5450: 5446: 5440: 5437: 5428: 5425: 5419: 5401: 5395: 5369:"Europenii dela 5363: 5359: 5353: 5346: 5340: 5336:România Literară 5321: 5317: 5311: 5307:România Literară 5292: 5288: 5282: 5278:România Literară 5263: 5259: 5253: 5250: 5244: 5232: 5228: 5222: 5221: 5219: 5217: 5202: 5196: 5195: 5193: 5191: 5182: 5170: 5164: 5161: 5155: 5140: 5136: 5130: 5123: 5117: 5114: 5108: 5086: 5082: 5069: 5062: 5056: 5044: 5040: 5034: 5027: 5021: 5004: 4998: 4991: 4985: 4970: 4966: 4957: 4950: 4944: 4922: 4918: 4912: 4908:România Literară 4893: 4889: 4883: 4871: 4867: 4850: 4846:România Literară 4830:Ioana Pârvulescu 4828: 4824: 4818: 4811: 4805: 4798: 4792: 4788:România Literară 4776:"Barbu Brezianu" 4773: 4769: 4763: 4756: 4750: 4747: 4734: 4731: 4718: 4715: 4709: 4708: 4706: 4704: 4690: 4684: 4683: 4681: 4679: 4674:. 29 August 2012 4664: 4658: 4657: 4655: 4653: 4644: 4636: 4630: 4623: 4617: 4616: 4614: 4612: 4598: 4592: 4591: 4589: 4587: 4572: 4563: 4560: 4549: 4546: 4540: 4533: 4527: 4524: 4518: 4514:România Literară 4499: 4495: 4489: 4468: 4459: 4452: 4446: 4439: 4433: 4430: 4424: 4397: 4391: 4390:, 8 October 2008 4372:Ioana Paverman, 4371: 4367: 4361: 4354: 4348: 4345: 4339: 4332: 4326: 4319: 4313: 4306: 4300: 4293: 4287: 4280: 4274: 4271: 4265: 4262: 4256: 4249: 4243: 4236: 4230: 4223: 4217: 4214: 4208: 4205: 4199: 4192: 4186: 4174: 4170: 4155: 4148: 4142: 4135: 4129: 4126: 4120: 4113: 4107: 4100: 4094: 4081: 4075: 4071:Viața Românească 4066: 4057: 4054: 4043: 4036: 4030: 4027: 4021: 4018: 4012: 4003: 3946: 3945:Sandqvist, p. 99 3943: 3937: 3934: 3928: 3927:Sandqvist, p. 98 3925: 3916: 3913: 3907: 3904: 3898: 3895: 3886: 3883: 3877: 3874: 3868: 3865: 3859: 3852: 3846: 3843: 3837: 3830: 3824: 3823:Sandqvist, p. 95 3821: 3815: 3812: 3806: 3803: 3797: 3790: 3779: 3757: 3753: 3747: 3744: 3738: 3735: 3729: 3728:Sandqvist, p. 94 3726: 3720: 3702: 3696: 3689: 3683: 3682:Sandqvist, p. 93 3680: 3674: 3671: 3665: 3662: 3656: 3653: 3647: 3644: 3638: 3631: 3625: 3618: 3612: 3605: 3599: 3583:Deborah Caplow, 3581: 3575: 3563: 3554: 3553:Sandqvist, p. 34 3551: 3545: 3538: 3532: 3525: 3519: 3516: 3510: 3503: 3497: 3494: 3488: 3481: 3475: 3472: 3466: 3459: 3453: 3450: 3444: 3437: 3428: 3425: 3419: 3407: 3403: 3388: 3381: 3375: 3368: 3362: 3359: 3353: 3350: 3341: 3338: 3332: 3329: 3323: 3320: 3314: 3311: 3305: 3298: 3292: 3285: 3279: 3278:Sandqvist, p. 78 3276: 3265: 3262: 3256: 3249: 3243: 3236: 3230: 3223: 3217: 3205: 3201: 3182: 3179: 3173: 3172:Sandqvist, p. 72 3170: 3164: 3161: 3155: 3143: 3139: 3098: 3095: 3089: 3088:Sandqvist, p. 69 3086: 3077: 3074: 3068: 3065: 3059: 3056: 3039: 3024: 2936:Cotroceni Palace 2840:2010 forest fire 2721:David G. Roskies 2717:Bucharest Pogrom 2713:Fascist Genocide 2684:New Architecture 2534:The activity at 2477:Ancient Egyptian 2453:Vincent van Gogh 2358:Mateiu Caragiale 2350:Rolling the Dice 2300:Cabaret Voltaire 1978:local Jewish art 1882:Bucharest Pogrom 1673:Mateiu Caragiale 1595:Dem. I. Dobrescu 1523:Italian fascists 1516: 1359:Șoseaua Kiseleff 1351: 1203:costume designer 1199:Nikolai Evreinov 1164: 1129: 1014:L'Esprit Nouveau 694:Cabaret Voltaire 671:and playing the 570: 397:, sculpture and 314:, architect and 309: 296: 291: 287: 282: 71: 35: 21: 20: 8785: 8784: 8780: 8779: 8778: 8776: 8775: 8774: 8520:Israeli artists 8505:Jewish painters 8370: 8369: 8368: 8363: 8288:Galeries Dalmau 8279:(art collector) 8259: 8213: 8200:Eugène Bataille 8178: 8131: 8038: 8004:Kurt Schwitters 7979:Francis Picabia 7939:John Heartfield 7909:Suzanne Duchamp 7854:Johannes Baader 7827: 7818: 7784:Francis Picabia 7765: 7760: 7688:Plural Magazine 7683:Janco's profile 7654: 7652: 7651:. Israel Museum 7643: 7634: 7535:Tom Sandqvist, 7478: 7367:Editura Minerva 7334: 7329: 7328: 7316:Wayback Machine 7305:Andrei Oișteanu 7301: 7300: 7296: 7279: 7278: 7271: 7266: 7262: 7237: 7236: 7232: 7215: 7214: 7210: 7193: 7192: 7188: 7176:Wayback Machine 7164: 7163: 7159: 7154: 7150: 7141: 7137: 7125:Wayback Machine 7104: 7103: 7099: 7087:Wayback Machine 7080:"Lecturi la zi" 7075: 7074: 7070: 7056:Augustin Ioan, 7053: 7052: 7048: 7031: 7030: 7026: 7009: 7008: 7004: 6999: 6995: 6980: 6979: 6964: 6952:Wayback Machine 6937: 6936: 6932: 6920:Wayback Machine 6910: 6906: 6901: 6897: 6880: 6879: 6875: 6866: 6862: 6853: 6849: 6844: 6840: 6835: 6831: 6826: 6822: 6809:Nova Publishers 6802: 6798: 6781: 6780: 6776: 6771: 6767: 6762: 6758: 6753: 6749: 6744: 6740: 6723: 6722: 6718: 6706:Wayback Machine 6694: 6693: 6689: 6680: 6676: 6667: 6663: 6654: 6650: 6645: 6641: 6632: 6628: 6619: 6615: 6606: 6602: 6593: 6589: 6572: 6571: 6564: 6555: 6551: 6546: 6539: 6534: 6530: 6521: 6517: 6512: 6508: 6503: 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5494:Andrei Oișteanu 5490: 5489: 5472: 5460:Wayback Machine 5448: 5447: 5443: 5438: 5431: 5426: 5422: 5402: 5398: 5365:Alexandru Hodoș 5361: 5360: 5356: 5347: 5343: 5331:Wayback Machine 5319: 5318: 5314: 5302:Wayback Machine 5295:"Iluzia luptei" 5290: 5289: 5285: 5273:Wayback Machine 5261: 5260: 5256: 5251: 5247: 5230: 5229: 5225: 5215: 5213: 5204: 5203: 5199: 5189: 5187: 5180: 5176:STEFAN LUCHIAN 5172: 5171: 5167: 5162: 5158: 5138: 5137: 5133: 5124: 5120: 5115: 5111: 5099:Wayback Machine 5084: 5083: 5072: 5063: 5059: 5042: 5041: 5037: 5028: 5024: 5005: 5001: 4992: 4988: 4968: 4967: 4960: 4951: 4947: 4935:Wayback Machine 4920: 4919: 4915: 4903:Wayback Machine 4891: 4890: 4886: 4869: 4868: 4853: 4841:Wayback Machine 4826: 4825: 4821: 4812: 4808: 4799: 4795: 4783:Wayback Machine 4771: 4770: 4766: 4757: 4753: 4748: 4737: 4732: 4721: 4716: 4712: 4702: 4700: 4692: 4691: 4687: 4677: 4675: 4666: 4665: 4661: 4651: 4649: 4642: 4638: 4637: 4633: 4624: 4620: 4610: 4608: 4600: 4599: 4595: 4585: 4583: 4576:"IANCU, Marcel" 4574: 4573: 4566: 4561: 4552: 4547: 4543: 4534: 4530: 4525: 4521: 4509:Wayback Machine 4497: 4496: 4492: 4479:Editura Minerva 4469: 4462: 4453: 4449: 4440: 4436: 4431: 4427: 4420:Wayback Machine 4413:Plural Magazine 4408:Wayback Machine 4398: 4394: 4369: 4368: 4364: 4355: 4351: 4346: 4342: 4333: 4329: 4320: 4316: 4307: 4303: 4294: 4290: 4281: 4277: 4272: 4268: 4263: 4259: 4250: 4246: 4237: 4233: 4224: 4220: 4215: 4211: 4206: 4202: 4193: 4189: 4172: 4171: 4158: 4149: 4145: 4136: 4132: 4127: 4123: 4114: 4110: 4101: 4097: 4082: 4078: 4067: 4060: 4055: 4046: 4037: 4033: 4028: 4024: 4019: 4015: 4004: 3949: 3944: 3940: 3935: 3931: 3926: 3919: 3914: 3910: 3905: 3901: 3896: 3889: 3884: 3880: 3875: 3871: 3866: 3862: 3853: 3849: 3844: 3840: 3831: 3827: 3822: 3818: 3813: 3809: 3804: 3800: 3791: 3782: 3770:Wayback Machine 3759:Andrei Oișteanu 3755: 3754: 3750: 3745: 3741: 3736: 3732: 3727: 3723: 3703: 3699: 3690: 3686: 3681: 3677: 3672: 3668: 3663: 3659: 3654: 3650: 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2031:Venice Biennale 2002:Dizengoff Prize 1998:Joseph Zaritsky 1974: 1946:occupied Poland 1930:Kingdom of Iraq 1855:Barașeum Studio 1847:Grigore Gafencu 1753:Catholic school 1693: 1650:Milita Petrascu 1514: 1456:Claudia Millian 1428: 1349: 1315:Greater Romania 1292: 1215:Romanian Police 1213:sculpture. The 1187:Kurt Schwitters 1179:Milița Petrașcu 1162: 1137:Robert Delaunay 1127: 1056: 1017:, published by 997:French Flanders 964:Herwarth Walden 935: 911:Viking Eggeling 809:Viking Eggeling 802: 771:Oskar Kokoschka 628: 568: 474:Austria-Hungary 451: 446: 426:Dizengoff Prize 420:to the British 406:Romanian Jewish 289: 280: 262:Histadrut Prize 257:Dizengoff Prize 244:Ofakim Hadashim 153:interior design 82: 73: 69: 60: 51: 49: 48: 38: 26: 17: 12: 11: 5: 8783: 8773: 8772: 8767: 8762: 8757: 8752: 8747: 8742: 8737: 8732: 8727: 8722: 8717: 8712: 8707: 8702: 8697: 8692: 8687: 8682: 8677: 8672: 8667: 8662: 8657: 8652: 8647: 8642: 8637: 8632: 8627: 8622: 8617: 8612: 8607: 8602: 8597: 8592: 8587: 8582: 8580:Cubist artists 8577: 8572: 8567: 8562: 8557: 8552: 8547: 8542: 8537: 8532: 8527: 8522: 8517: 8512: 8507: 8502: 8497: 8492: 8487: 8482: 8477: 8472: 8467: 8462: 8457: 8452: 8447: 8442: 8437: 8432: 8427: 8422: 8417: 8412: 8407: 8402: 8397: 8392: 8387: 8382: 8365: 8364: 8362: 8361: 8353: 8345: 8340: 8335: 8330: 8325: 8320: 8315: 8310: 8305: 8300: 8295: 8290: 8285: 8280: 8274: 8267: 8265: 8261: 8260: 8258: 8257: 8255:Downtown music 8252: 8247: 8242: 8237: 8232: 8227: 8225:Conceptual art 8221: 8219: 8215: 8214: 8212: 8211: 8203: 8197: 8192: 8186: 8184: 8180: 8179: 8177: 8176: 8169: 8161: 8153: 8145: 8143:Dada Manifesto 8139: 8137: 8133: 8132: 8130: 8129: 8121: 8113: 8108: 8103: 8096: 8089: 8082: 8075: 8068: 8061: 8054: 8046: 8044: 8040: 8039: 8037: 8036: 8031: 8026: 8021: 8016: 8011: 8006: 8001: 7996: 7994:Jacques Rigaut 7991: 7986: 7981: 7976: 7971: 7966: 7961: 7956: 7951: 7946: 7941: 7936: 7934:Raoul Hausmann 7931: 7926: 7921: 7916: 7911: 7906: 7904:Marcel Duchamp 7901: 7896: 7891: 7886: 7881: 7876: 7871: 7866: 7861: 7856: 7851: 7846: 7841: 7839:Dragan Aleksić 7835: 7833: 7829: 7828: 7821: 7819: 7817: 7816: 7811: 7806: 7801: 7796: 7791: 7786: 7781: 7779:Marcel Duchamp 7775: 7773: 7767: 7766: 7759: 7758: 7751: 7744: 7736: 7730: 7729: 7714: 7704: 7692: 7680: 7671: 7661: 7645:"Marcel Janco" 7641: 7633: 7632:External links 7630: 7629: 7628: 7610: 7592: 7591: 7590: 7568: 7551: 7533: 7512: 7498: 7476: 7455: 7441: 7423: 7405: 7391: 7377: 7356: 7333: 7330: 7327: 7326: 7294: 7269: 7260: 7230: 7208: 7186: 7167:Amelia Pavel, 7157: 7148: 7135: 7097: 7068: 7066:, Nr. 1-2/2011 7046: 7024: 7002: 6993: 6962: 6930: 6925:Art in America 6904: 6895: 6873: 6871:, pp. 176, 267 6860: 6847: 6838: 6829: 6820: 6796: 6774: 6765: 6756: 6747: 6738: 6716: 6687: 6674: 6661: 6648: 6639: 6626: 6613: 6600: 6587: 6562: 6549: 6537: 6528: 6515: 6506: 6497: 6484: 6475: 6466: 6457: 6448: 6439: 6427: 6418: 6394: 6385: 6374:Giunti Editore 6361: 6332: 6319: 6297: 6284: 6275: 6256: 6237:Robert Suckale 6228: 6219: 6210: 6201: 6192: 6183: 6163: 6145: 6136: 6127: 6118: 6089: 6056: 6043: 6030: 6021: 6012: 5989: 5970:Iordan Datcu, 5957: 5914: 5892: 5883: 5874: 5865: 5856: 5847: 5835: 5799: 5780:"Marcel Janco" 5763: 5739: 5696: 5684:Mirel Horodi, 5674: 5672:, pp. 189, 409 5661: 5649: 5637: 5624: 5615: 5606: 5579: 5542: 5515: 5470: 5441: 5429: 5420: 5396: 5373:"; "Însemnări" 5371:Cuvântul Liber 5354: 5341: 5312: 5283: 5254: 5245: 5233:Mariana Vida, 5223: 5212:. 17 June 2012 5197: 5165: 5156: 5142:Andrei Pippidi 5131: 5118: 5109: 5088:Andrei Pippidi 5070: 5057: 5035: 5022: 5007:Giovanni Lista 4999: 4997:, pp. 174, 176 4986: 4958: 4945: 4913: 4884: 4851: 4819: 4806: 4793: 4764: 4751: 4735: 4719: 4710: 4685: 4659: 4631: 4618: 4593: 4564: 4550: 4541: 4528: 4519: 4490: 4460: 4447: 4434: 4425: 4392: 4362: 4349: 4340: 4327: 4314: 4301: 4288: 4275: 4266: 4257: 4244: 4231: 4218: 4209: 4207:Meazzi, p. 123 4200: 4187: 4175:Mariana Vida, 4156: 4143: 4130: 4121: 4108: 4095: 4090:Art in America 4085:"Hedda Sterne" 4076: 4058: 4044: 4031: 4022: 4013: 4005:Doina Anghel, 3947: 3938: 3936:Meazzi, p. 122 3929: 3917: 3908: 3899: 3887: 3878: 3869: 3860: 3847: 3838: 3825: 3816: 3807: 3798: 3780: 3748: 3739: 3730: 3721: 3697: 3684: 3675: 3666: 3657: 3648: 3639: 3626: 3613: 3600: 3576: 3555: 3546: 3533: 3520: 3511: 3498: 3489: 3476: 3467: 3454: 3445: 3429: 3420: 3389: 3376: 3374:, pp. 113, 132 3363: 3354: 3342: 3333: 3324: 3315: 3306: 3293: 3280: 3266: 3257: 3244: 3231: 3218: 3183: 3174: 3165: 3156: 3144:Vlad Solomon, 3099: 3090: 3078: 3069: 3060: 3050: 3049: 3047: 3044: 3041: 3040: 3018: 3017: 3015: 3012: 3011: 3010: 3005: 2998: 2995: 2913:Andrei Pippidi 2832:Victor Brauner 2789: 2786: 2759:Poble Espanyol 2752:, including a 2742:: "I paint in 2700: 2697: 2581:costume design 2569:Ilarie Voronca 2563: 2560: 2520:Das Neue Leben 2469:Das Neue Leben 2465:Impressionists 2401: 2398: 2386:Alice Călugăru 2344:, or even the 2237:are generally 2208: 2205: 2203: 2200: 2173:Shevet Romania 2054:1948 expulsion 1973: 1970: 1788:Land of Israel 1741:I. E. Torouțiu 1692: 1689: 1630:Cuvântul Liber 1546:Arta și Orașul 1436:Barbu Brezianu 1427: 1417: 1409:Giurgiu County 1291: 1288: 1280:Camil Baltazar 1230:Ilarie Voronca 1171:Victor Brauner 1145:Joseph Delteil 1097:Michel Seuphor 1075:Victor Eftimiu 1055: 1049: 993:Das Neue Leben 989:Swiss Catholic 948:Walter Gropius 940:Das Neue Leben 934: 931: 907:Das Neue Leben 887:Das Neue Leben 801: 799:Das Neue Leben 795: 779:stage designer 733:Vladimir Lenin 627: 624: 450: 447: 445: 442: 387:urban planning 362:Das Neue Leben 328:Eastern Europe 324:Constructivism 272: 271: 270: 269: 264: 259: 252: 248: 247: 227:Das Neue Leben 215:Constructivism 176: 172: 171: 149:costume design 110: 109:Known for 106: 105: 96: 92: 91: 88: 84: 83: 74: 72:(aged 88) 66: 62: 61: 52: 46: 44: 40: 39: 36: 28: 27: 24: 15: 9: 6: 4: 3: 2: 8782: 8771: 8768: 8766: 8763: 8761: 8758: 8756: 8753: 8751: 8748: 8746: 8743: 8741: 8738: 8736: 8733: 8731: 8728: 8726: 8723: 8721: 8718: 8716: 8713: 8711: 8708: 8706: 8703: 8701: 8698: 8696: 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7902: 7900: 7897: 7895: 7892: 7890: 7887: 7885: 7884:Arthur Cravan 7882: 7880: 7877: 7875: 7872: 7870: 7867: 7865: 7862: 7860: 7857: 7855: 7852: 7850: 7847: 7845: 7842: 7840: 7837: 7836: 7834: 7832:European Dada 7830: 7825: 7815: 7812: 7810: 7807: 7805: 7802: 7800: 7799:Louise Norton 7797: 7795: 7794:Beatrice Wood 7792: 7790: 7787: 7785: 7782: 7780: 7777: 7776: 7774: 7772: 7771:New York Dada 7768: 7764: 7757: 7752: 7750: 7745: 7743: 7738: 7737: 7734: 7728: 7725: 7721: 7719: 7718:Contimporanul 7715: 7712: 7708: 7705: 7703: 7700: 7696: 7693: 7690: 7689: 7684: 7681: 7679: 7675: 7674:Janco's works 7672: 7669: 7665: 7662: 7650: 7646: 7642: 7639: 7636: 7635: 7627: 7626:90-420-1909-3 7623: 7619: 7615: 7611: 7609: 7608:0-313-29465-8 7605: 7601: 7597: 7593: 7589: 7585: 7581: 7577: 7573: 7569: 7567: 7566:90-5589-010-3 7563: 7559: 7555: 7554: 7552: 7550: 7549:0-262-19507-0 7546: 7542: 7538: 7534: 7532: 7531:0-8156-0615-X 7528: 7524: 7520: 7516: 7513: 7511: 7507: 7503: 7499: 7496: 7492: 7488: 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6340:(in Romanian) 6336: 6330:, pp. 313–314 6329: 6323: 6316: 6315: 6310: 6305:(in Romanian) 6301: 6295:, pp. 257–258 6294: 6288: 6279: 6272: 6268: 6263: 6261: 6254: 6253:3-8228-1825-9 6250: 6246: 6242: 6238: 6232: 6223: 6214: 6205: 6196: 6187: 6181: 6177: 6173: 6167: 6160: 6154: 6152: 6150: 6140: 6131: 6122: 6116:, Nr. 34/2009 6115: 6114: 6109: 6105: 6102: 6097:(in Romanian) 6093: 6086: 6085: 6080: 6076: 6071: 6069: 6067: 6065: 6063: 6061: 6053: 6047: 6040: 6034: 6025: 6016: 6009: 6005: 6000: 5998: 5996: 5994: 5987:, Nr. 25/2008 5986: 5985: 5980: 5976: 5973: 5968:(in Romanian) 5964: 5962: 5954: 5953: 5948: 5943:(in Romanian) 5939: 5937: 5935: 5933: 5931: 5929: 5927: 5925: 5923: 5921: 5919: 5911: 5910: 5905: 5899: 5897: 5887: 5878: 5869: 5860: 5851: 5844: 5839: 5832: 5831: 5826: 5820: 5818: 5816: 5814: 5812: 5810: 5808: 5806: 5804: 5796: 5792: 5791:Israel Museum 5788: 5784: 5781: 5776: 5774: 5772: 5770: 5768: 5761: 5757: 5753: 5749: 5743: 5736: 5732: 5729: 5728: 5723: 5719: 5715: 5712: 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5106: 5105: 5100: 5096: 5093: 5089: 5085:(in Romanian) 5081: 5079: 5077: 5075: 5067: 5061: 5054: 5053: 5048: 5043:(in Romanian) 5039: 5032: 5026: 5020: 5019:2-8251-2414-1 5016: 5012: 5008: 5003: 4996: 4990: 4983: 4982: 4977: 4973: 4969:(in Romanian) 4965: 4963: 4955: 4949: 4943:, Nr. 12/2006 4942: 4941: 4936: 4932: 4929: 4925: 4921:(in Romanian) 4917: 4911:, Nr. 19/2006 4910: 4909: 4904: 4900: 4897: 4892:(in Romanian) 4888: 4881: 4880: 4875: 4870:(in Romanian) 4866: 4864: 4862: 4860: 4858: 4856: 4849:, Nr. 26/2001 4848: 4847: 4842: 4838: 4835: 4831: 4827:(in Romanian) 4823: 4816: 4810: 4803: 4797: 4790: 4789: 4784: 4780: 4777: 4772:(in Romanian) 4768: 4762:, pp. 169–171 4761: 4755: 4746: 4744: 4742: 4740: 4730: 4728: 4726: 4724: 4714: 4699: 4695: 4689: 4673: 4669: 4663: 4648: 4641: 4635: 4629:, pp. 49, 100 4628: 4622: 4607: 4606:Via Bucuresti 4603: 4597: 4581: 4577: 4571: 4569: 4559: 4557: 4555: 4545: 4538: 4532: 4523: 4516: 4515: 4510: 4506: 4503: 4498:(in Romanian) 4494: 4488: 4484: 4480: 4476: 4472: 4467: 4465: 4457: 4451: 4444: 4438: 4429: 4423:, Nr. 11/2001 4422: 4421: 4417: 4414: 4409: 4405: 4402: 4396: 4389: 4385: 4381: 4380: 4375: 4374:"Pop Culture" 4370:(in Romanian) 4366: 4359: 4353: 4344: 4337: 4331: 4324: 4318: 4312:, pp. 216–217 4311: 4305: 4299:, pp. 166–169 4298: 4292: 4285: 4279: 4270: 4261: 4254: 4248: 4241: 4235: 4228: 4222: 4213: 4204: 4197: 4191: 4184: 4183: 4178: 4173:(in Romanian) 4169: 4167: 4165: 4163: 4161: 4153: 4147: 4140: 4134: 4125: 4118: 4112: 4105: 4099: 4092: 4091: 4086: 4080: 4073: 4072: 4065: 4063: 4053: 4051: 4049: 4041: 4035: 4026: 4017: 4010: 4009: 4002: 4000: 3998: 3996: 3994: 3992: 3990: 3988: 3986: 3984: 3982: 3980: 3978: 3976: 3974: 3972: 3970: 3968: 3966: 3964: 3962: 3960: 3958: 3956: 3954: 3952: 3942: 3933: 3924: 3922: 3912: 3903: 3894: 3892: 3882: 3873: 3864: 3858:, pp. 160–161 3857: 3851: 3842: 3835: 3829: 3820: 3811: 3802: 3795: 3789: 3787: 3785: 3777: 3776: 3771: 3767: 3764: 3760: 3756:(in Romanian) 3752: 3743: 3734: 3725: 3719: 3718:0-203-20517-0 3715: 3711: 3707: 3701: 3694: 3688: 3679: 3670: 3661: 3652: 3643: 3636: 3630: 3624:, pp. 120–124 3623: 3617: 3610: 3604: 3598: 3594: 3590: 3586: 3580: 3573: 3572: 3567: 3562: 3560: 3550: 3543: 3537: 3530: 3524: 3515: 3508: 3502: 3493: 3486: 3480: 3471: 3464: 3458: 3449: 3442: 3436: 3434: 3424: 3417: 3416: 3411: 3406:(in Romanian) 3402: 3400: 3398: 3396: 3394: 3386: 3380: 3373: 3367: 3358: 3349: 3347: 3337: 3328: 3319: 3310: 3303: 3297: 3291:, pp. 34, 188 3290: 3284: 3275: 3273: 3271: 3261: 3254: 3248: 3241: 3235: 3228: 3222: 3215: 3214: 3209: 3204:(in Romanian) 3200: 3198: 3196: 3194: 3192: 3190: 3188: 3178: 3169: 3160: 3153: 3152: 3147: 3142:(in Romanian) 3138: 3136: 3134: 3132: 3130: 3128: 3126: 3124: 3122: 3120: 3118: 3116: 3114: 3112: 3110: 3108: 3106: 3104: 3094: 3085: 3083: 3073: 3064: 3055: 3051: 3037: 3033: 3029: 3026:Surname also 3023: 3019: 3009: 3006: 3004: 3001: 3000: 2994: 2992: 2988: 2984: 2980: 2976: 2972: 2968: 2964: 2960: 2956: 2952: 2947: 2945: 2941: 2937: 2933: 2932:Magda Cârneci 2929: 2924: 2922: 2918: 2914: 2908: 2906: 2902: 2898: 2894: 2889: 2886: 2882: 2881: 2876: 2872: 2868: 2864: 2860: 2855: 2853: 2849: 2846:disciples of 2845: 2841: 2835: 2833: 2829: 2826: 2822: 2818: 2814: 2810: 2807: 2799: 2794: 2785: 2783: 2777: 2775: 2771: 2767: 2766: 2761: 2760: 2755: 2751: 2747: 2746: 2741: 2736: 2735: 2729: 2726: 2722: 2718: 2714: 2710: 2706: 2696: 2694: 2690: 2686: 2685: 2680: 2676: 2675: 2670: 2666: 2662: 2658: 2654: 2653:Contimporanul 2650: 2645: 2642: 2638: 2634: 2630: 2627: 2623: 2619: 2618: 2613: 2609: 2608: 2603: 2599: 2594: 2592: 2591: 2586: 2582: 2578: 2574: 2570: 2559: 2557: 2553: 2549: 2545: 2541: 2537: 2536:Contimporanul 2532: 2529: 2525: 2521: 2517: 2513: 2509: 2504: 2502: 2498: 2494: 2490: 2486: 2482: 2478: 2474: 2470: 2466: 2462: 2461:Henri Matisse 2458: 2457:Pablo Picasso 2454: 2450: 2446: 2442: 2438: 2434: 2429: 2427: 2423: 2419: 2415: 2414:African masks 2411: 2407: 2397: 2395: 2391: 2387: 2383: 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1840: 1839: 1834: 1830: 1826: 1822: 1818: 1814: 1811:In 1939, the 1809: 1807: 1803: 1802: 1797: 1793: 1789: 1785: 1781: 1776: 1774: 1770: 1766: 1765:Contimporanul 1762: 1756: 1754: 1750: 1746: 1742: 1738: 1737:Contimporanul 1734: 1730: 1726: 1722: 1721:Contimporanul 1718: 1714: 1710: 1702: 1697: 1688: 1686: 1682: 1678: 1674: 1670: 1666: 1665:New York City 1662: 1658: 1653: 1651: 1647: 1641: 1639: 1635: 1631: 1627: 1626:Contimporanul 1623: 1619: 1615: 1611: 1607: 1603: 1600: 1596: 1591: 1589: 1588:Contimporanul 1585: 1581: 1577: 1573: 1569: 1568:Mircea Eliade 1565: 1564: 1559: 1555: 1551: 1547: 1543: 1539: 1538:Contimporanul 1534: 1532: 1528: 1524: 1520: 1513: 1512:Contimporanul 1509: 1505: 1504:Contimporanul 1501: 1497: 1496:Contimporanul 1492: 1490: 1486: 1482: 1481:Contimporanul 1478: 1474: 1470: 1469: 1464: 1463:Contimporanul 1459: 1457: 1453: 1449: 1445: 1444:Contimporanul 1441: 1437: 1433: 1432:Contimporanul 1426: 1422: 1421:Contimporanul 1416: 1414: 1410: 1406: 1405:Budeni-Comana 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982: 978: 973: 971: 970: 965: 961: 960:Expressionist 957: 953: 949: 945: 941: 930: 928: 924: 920: 916: 912: 908: 904: 900: 896: 895:art manifesto 892: 888: 884: 880: 876: 875:Fritz Baumann 872: 867: 865: 861: 857: 853: 852: 847: 843: 837: 835: 831: 827: 822: 814: 810: 806: 800: 794: 792: 788: 784: 780: 776: 772: 768: 767:Emmy Hennings 763: 761: 760:Tudor Arghezi 757: 753: 749: 745: 740: 738: 734: 730: 726: 721: 719: 715: 711: 707: 701: 699: 695: 691: 686: 684: 680: 679: 674: 670: 666: 662: 658: 654: 650: 646: 645: 636: 632: 623: 621: 617: 613: 609: 605: 601: 600:Paul Verlaine 597: 593: 589: 585: 580: 578: 574: 567: 563: 559: 558: 553: 548: 546: 542: 538: 534: 530: 529:Ion Minulescu 526: 522: 521: 516: 511: 509: 508: 503: 499: 495: 491: 487: 483: 479: 475: 471: 466: 464: 460: 456: 441: 439: 435: 431: 427: 423: 419: 415: 411: 407: 402: 400: 396: 392: 388: 384: 383:Contimporanul 380: 376: 372: 371: 370:Contimporanul 365: 363: 359: 355: 354:Expressionism 351: 347: 343: 342: 337: 336:Tristan Tzara 333: 329: 325: 321: 317: 313: 312:visual artist 308: 304: 300: 295: 286: 278: 268: 265: 263: 260: 258: 255: 254: 253: 249: 246: 245: 240: 239: 234: 233: 232:Contimporanul 228: 224: 220: 216: 212: 208: 204: 200: 196: 195:Expressionism 192: 188: 184: 180: 177: 173: 170: 166: 162: 158: 157:scenic design 154: 150: 146: 142: 138: 134: 130: 126: 122: 118: 114: 111: 107: 104: 100: 97: 93: 89: 85: 81: 77: 68:21 April 1984 67: 63: 59: 55: 45: 41: 37:Janco in 1954 34: 29: 22: 19: 8510:Jewish poets 8360:(2006 opera) 8355: 8347: 8293:Found object 8206: 8202:(aka Sapeck) 8190:Alfred Jarry 8171: 8163: 8156: 8148: 8136:Publications 8123: 8115: 8106:Rrose Sélavy 8098: 8091: 8084: 8077: 8070: 8063: 8056: 8049: 8024:Julien Torma 7964:Marcel Janco 7963: 7929:George Grosz 7924:Julius Evola 7869:André Breton 7859:Alice Bailly 7844:Louis Aragon 7717: 7691:, Nr. 3/1999 7686: 7655:18 September 7653:. Retrieved 7648: 7613: 7595: 7575: 7572:Emanuel Marx 7557: 7536: 7518: 7501: 7494: 7486: 7461: 7444: 7430: 7427:Efraim Karsh 7408: 7394: 7380: 7362: 7341: 7332:Bibliography 7319: 7297: 7287: 7263: 7255: 7245: 7240:Andrei Ion, 7233: 7223: 7211: 7201: 7189: 7179: 7160: 7151: 7143: 7138: 7128: 7111: 7100: 7090: 7071: 7061: 7049: 7039: 7034:Geo Șerban, 7027: 7017: 7005: 6996: 6988: 6955: 6933: 6923: 6907: 6898: 6888: 6876: 6868: 6863: 6855: 6850: 6841: 6832: 6823: 6804: 6799: 6789: 6777: 6768: 6759: 6750: 6741: 6733:Dilema Veche 6731: 6719: 6709: 6690: 6682: 6677: 6669: 6664: 6656: 6651: 6642: 6634: 6629: 6621: 6616: 6608: 6603: 6595: 6590: 6580: 6557: 6552: 6531: 6523: 6518: 6509: 6500: 6492: 6487: 6478: 6469: 6460: 6451: 6442: 6421: 6402: 6397: 6388: 6369: 6364: 6359:, Nr. 6/2001 6354: 6335: 6327: 6322: 6312: 6300: 6292: 6287: 6278: 6270: 6240: 6231: 6222: 6213: 6204: 6195: 6186: 6171: 6166: 6158: 6139: 6130: 6121: 6111: 6092: 6082: 6051: 6046: 6038: 6033: 6024: 6015: 6007: 5982: 5950: 5912:, Nr. 1/2009 5907: 5902:Nissim Gal, 5886: 5877: 5868: 5859: 5850: 5842: 5838: 5828: 5747: 5742: 5726: 5721: 5709:Radu Comșa, 5689: 5677: 5669: 5664: 5632: 5627: 5618: 5609: 5599: 5594:Geo Șerban, 5572: 5567:Geo Șerban, 5535: 5530:Geo Șerban, 5508: 5463: 5444: 5423: 5404: 5399: 5385:Țara Noastră 5384: 5377:Țara Noastră 5376: 5370: 5357: 5349: 5344: 5334: 5315: 5310:, Nr. 9/2009 5305: 5286: 5276: 5257: 5248: 5238: 5226: 5214:. Retrieved 5209: 5200: 5188:. Retrieved 5184: 5175: 5168: 5159: 5151:Dilema Veche 5149: 5134: 5126: 5121: 5112: 5104:Dilema Veche 5102: 5065: 5060: 5050: 5045:Geo Șerban, 5038: 5030: 5025: 5010: 5002: 4994: 4989: 4979: 4953: 4948: 4938: 4916: 4906: 4887: 4877: 4872:Geo Șerban, 4844: 4822: 4814: 4809: 4804:, p. 170–171 4801: 4796: 4791:, Nr. 3/2008 4786: 4767: 4759: 4754: 4713: 4701:. Retrieved 4697: 4688: 4676:. Retrieved 4672:Adrian Yekes 4671: 4662: 4650:. Retrieved 4646: 4634: 4626: 4621: 4609:. Retrieved 4605: 4596: 4584:. Retrieved 4579: 4544: 4536: 4531: 4522: 4517:, Nr. 2/2007 4512: 4493: 4474: 4455: 4450: 4442: 4437: 4428: 4411: 4395: 4387: 4377: 4365: 4357: 4352: 4343: 4335: 4330: 4322: 4317: 4309: 4304: 4296: 4291: 4286:, p. 162–164 4283: 4278: 4269: 4260: 4252: 4247: 4239: 4234: 4226: 4221: 4212: 4203: 4195: 4190: 4180: 4151: 4146: 4138: 4133: 4124: 4116: 4111: 4103: 4098: 4088: 4083:Joan Simon, 4079: 4069: 4039: 4034: 4025: 4016: 4007: 3941: 3932: 3911: 3902: 3881: 3872: 3863: 3855: 3850: 3841: 3833: 3828: 3819: 3810: 3801: 3793: 3773: 3751: 3742: 3733: 3724: 3705: 3700: 3692: 3687: 3678: 3669: 3660: 3651: 3642: 3634: 3629: 3621: 3616: 3608: 3603: 3584: 3579: 3569: 3549: 3541: 3536: 3528: 3523: 3514: 3506: 3501: 3492: 3484: 3479: 3470: 3462: 3457: 3448: 3440: 3423: 3413: 3384: 3379: 3371: 3366: 3357: 3336: 3327: 3318: 3309: 3301: 3296: 3288: 3283: 3260: 3252: 3247: 3239: 3234: 3226: 3221: 3211: 3206:Geo Șerban, 3177: 3168: 3159: 3149: 3093: 3072: 3063: 3054: 3035: 3031: 3027: 3022: 2982: 2981:, 1990) and 2974: 2948: 2925: 2921:TVR Cultural 2916: 2909: 2890: 2878: 2874: 2870: 2862: 2856: 2852:Avraham Ofek 2844:neorealistic 2836: 2808: 2802: 2778: 2769: 2763: 2757: 2743: 2732: 2730: 2712: 2707:and bucolic 2702: 2682: 2679:Le Corbusier 2672: 2668: 2652: 2646: 2621: 2615: 2612:collectivism 2605: 2597: 2595: 2588: 2584: 2572: 2565: 2540:outsider art 2535: 2533: 2519: 2515: 2505: 2468: 2430: 2403: 2393: 2390:Perpessicius 2382:Felix Aderca 2369: 2362:Stephan Roll 2349: 2334: 2332: 2320:found object 2315:John Willett 2312: 2299: 2289: 2279: 2272: 2267:artists and 2262: 2255: 2232: 2229:André Derain 2224: 2210: 2191: 2185: 2172: 2165:Iron Curtain 2150: 2138: 2134:Israel Prize 2119: 2112: 2097:abstract art 2090: 2088: 2076: 2042:Mount Carmel 2039: 2035:Moshe Mokady 2024: 2013:Arieh Sharon 2006: 1982:Reuven Rubin 1975: 1966:Transnistria 1958: 1949: 1926:French Syria 1907: 1889: 1862:World War II 1859: 1843:anti-fascist 1836: 1824: 1810: 1799: 1777: 1764: 1757: 1744: 1736: 1729:Țara Noastră 1728: 1720: 1709:antisemitism 1706: 1680: 1676: 1668: 1654: 1646:Jianu Square 1642: 1637: 1629: 1625: 1621: 1613: 1609: 1605: 1592: 1587: 1583: 1561: 1557: 1553: 1549: 1545: 1541: 1537: 1535: 1531:Stephan Roll 1526: 1518: 1511: 1503: 1495: 1493: 1488: 1485:Felix Aderca 1483:sympathizer 1480: 1476: 1472: 1466: 1462: 1460: 1447: 1443: 1431: 1429: 1424: 1420: 1413:Clara Haskil 1400: 1394: 1383: 1369: 1362: 1355: 1346: 1343: 1336: 1331:Duiliu Marcu 1322: 1312: 1303: 1299: 1295: 1293: 1283: 1275: 1272:Perpessicius 1263: 1259: 1237: 1233: 1225: 1223: 1218: 1210: 1206: 1194: 1183:Lajos Kassák 1159: 1155: 1149: 1140: 1131: 1124: 1122: 1108: 1104: 1100: 1088: 1080: 1079: 1060: 1057: 1051: 1045:Hedda Sterne 1040:Maison d'Art 1039: 1033: 1029: 1024:Section d'Or 1022: 1012: 1009:André Breton 1004: 992: 974: 967: 966:'s magazine 944:Arthur Segal 939: 936: 914: 906: 902: 886: 879:Hans Richter 870: 868: 849: 838: 818: 812: 798: 790: 782: 774: 764: 752:Germán Cueto 741: 722: 718:onomatopoeic 702: 698:Arthur Segal 687: 682: 676: 642: 640: 581: 576: 565: 561: 555: 551: 549: 544: 540: 533:Adrian Maniu 518: 512: 505: 502:Clara Haskil 497: 493: 467: 452: 436:, a utopian 430:Israel Prize 414:World War II 403: 399:oil painting 395:illustration 382: 368: 366: 361: 339: 316:art theorist 302: 277:Marcel Janco 276: 275: 267:Israel Prize 242: 236: 230: 226: 211:Abstract art 129:found object 125:illustration 113:Oil painting 70:(1984-04-21) 25:Marcel Janco 18: 8385:1984 deaths 8380:1895 births 8333:Noise music 8313:Anti-poetry 8195:Incoherents 8128:(1924 play) 8120:(1921 play) 8072:Dada-Review 8058:Bottle Rack 7949:Hannah Höch 7914:Paul Éluard 7889:Jean Crotti 7814:Jean Crotti 7338:Paul Cernat 6697:Daria Ghiu 6075:Jane Perlez 4972:Paul Cernat 4924:Paul Cernat 4477:, Vol. II, 2975:On the Edge 2944:art forgers 2834:, in 1924. 2825:neo-Dadaist 2817:protractors 2798:Berlin Wall 2782:Orientalist 2709:watercolors 2689:garden city 2674:tikkun olam 2637:ocean liner 2556:Paul Cernat 2493:Cloisonnism 2473:handicrafts 2433:primitivism 2239:Art Nouveau 2221:composition 2114:Don Quixote 2050:Palestinian 1934:Transjordan 1817:Ion Gigurtu 1701:Hula Valley 1669:Metamorfoze 1508:open letter 1452:Nina Arbore 1401:Jacquesmara 1036:avant-garde 1019:Paul Dermée 883:Otto Morach 864:African art 860:Renaissance 846:Paul Cernat 828:and Ball's 756:Stridentist 649:World War I 486:Netherlands 478:Switzerland 410:antisemitic 375:avant-garde 346:Art Nouveau 203:Primitivism 187:Art Nouveau 161:ceramic art 87:Nationality 50:24 May 1895 8374:Categories 8230:Surrealism 8218:Influenced 8183:Influences 8168:(magazine) 8159:(magazine) 8151:(magazine) 8093:L.H.O.O.Q. 7365:, Vol. I, 7321:Revista 22 6957:Revista 22 6711:Revista 22 6243:, Vol. I, 6099:Ilie Rad, 5510:Revista 22 4694:"About Us" 3775:Revista 22 3566:Kay Larson 3046:References 2979:Yad Vashem 2891:After the 2880:Luceafărul 2871:Secolul 20 2806:prose poem 2740:Moshe Idel 2665:Proletkult 2602:Bruno Taut 2550:nature of 2524:Art Soviet 2501:Jewish art 2449:Romanesque 2376:looked "a 2342:Surrealism 2304:naturalism 2286:Karl Moser 2264:Die Brücke 2213:Iosif Iser 2181:Lucian Boz 2161:show trial 2105:tapestries 2066:art colony 2058:Ramat Aviv 1951:Conducător 1851:ghettoized 1841:daily—its 1825:Jaquesmara 1725:xenophobic 1717:Iron Guard 1375:sanatorium 1321:, Janco's 1268:Ion Pillat 1211:Princess X 1152:M. H. Maxy 1071:Düsseldorf 1054:beginnings 899:capitalism 871:Neue Kunst 851:alma mater 644:Sonderbund 550:After the 496:), Vinea ( 470:Iosif Iser 449:Early life 438:art colony 219:Surrealism 141:watercolor 8343:Shock art 8173:Dadaglobe 7919:Max Ernst 7864:Hugo Ball 7668:Europeana 7541:MIT Press 7481:Ion Pop, 7375:490001217 7144:Avangarda 6869:Avangarda 6856:Avangarda 6683:Avangarda 6657:Avangarda 6635:Avangarda 6622:Avangarda 6609:Avangarda 6596:Avangarda 6558:Avangarda 6524:Avangarda 6493:Avangarda 6328:Avangarda 6052:Avangarda 6039:Avangarda 5670:Avangarda 5633:Avangarda 5350:Avangarda 5324:"Unicate" 5127:Avangarda 5066:Avangarda 5031:Avangarda 4995:Avangarda 4954:Avangarda 4815:Avangarda 4802:Avangarda 4760:Avangarda 4627:Avangarda 4537:Avangarda 4456:Avangarda 4443:Avangarda 4358:Avangarda 4336:Avangarda 4323:Avangarda 4310:Avangarda 4297:Avangarda 4284:Avangarda 4253:Avangarda 4240:Avangarda 4227:Avangarda 4196:Avangarda 4152:Avangarda 4139:Avangarda 4117:Avangarda 4104:Avangarda 4040:Avangarda 3856:Avangarda 3834:Avangarda 3794:Avangarda 3693:Avangarda 3635:Avangarda 3622:Avangarda 3609:Avangarda 3542:Avangarda 3529:Avangarda 3507:Avangarda 3485:Avangarda 3463:Avangarda 3441:Avangarda 3385:Avangarda 3372:Avangarda 3302:Avangarda 3289:Avangarda 3253:Avangarda 3240:Avangarda 3227:Avangarda 2991:Sotheby's 2923:station. 2813:Ion Barbu 2548:absurdist 2497:Hassidism 2491:, and in 2445:Byzantine 2426:reductive 2410:Hugo Ball 2406:Paul Klee 2394:Antologia 2380:bandit", 2378:Mongolian 2374:Ion Barbu 2274:Der Sturm 2243:Symbolist 2177:Australia 2122:Histadrut 2021:Old Jaffa 1942:Holocaust 1914:Constanța 1845:manager, 1815:-aligned 1769:Ion Barbu 1749:pederasty 1745:Criterion 1685:Sașa Pană 1634:Isac Ludo 1599:left-wing 1584:Criterion 1572:far right 1563:Criterion 1536:Although 1448:Arta Nouă 1425:Criterion 1258:, titled 1117:Hungarian 1105:Der Sturm 969:Der Sturm 891:socialist 773:'s farce 744:Paul Klee 737:Carl Jung 731:theorist 729:communist 690:Hugo Ball 673:accordion 635:Hugo Ball 586:prose of 584:absurdist 537:modernism 494:S. Samyro 444:Biography 418:emigrated 391:Bucharest 332:Ion Vinea 238:Criterion 183:Symbolism 95:Education 54:Bucharest 8298:Anti-art 8209:(ballet) 8065:Fountain 7894:Otto Dix 7849:Jean Arp 7574:(eds.), 7510:13759997 7458:Z. Ornea 7429:(eds.), 7312:Archived 7172:Archived 7146:, p. 162 7142:Cernat, 7121:Archived 7083:Archived 6948:Archived 6916:Archived 6867:Cernat, 6858:, p. 198 6854:Cernat, 6702:Archived 6681:Cernat, 6655:Cernat, 6633:Cernat, 6620:Cernat, 6611:, p. 159 6607:Cernat, 6594:Cernat, 6556:Cernat, 6522:Cernat, 6491:Cernat, 6347:Archived 6326:Cernat, 6271:ArtDaily 6239:(eds.), 6161:, p. 257 6104:Archived 6054:, p. 189 6050:Cernat, 6041:, p. 409 6037:Cernat, 6008:ArtDaily 5975:Archived 5783:Archived 5731:Archived 5714:Archived 5668:Cernat, 5635:, p. 189 5501:Archived 5456:Archived 5352:, p. 207 5348:Cernat, 5327:Archived 5298:Archived 5269:Archived 5129:, p. 179 5095:Archived 5068:, p. 179 5064:Cernat, 5029:Cernat, 4952:Cernat, 4940:Apostrof 4931:Archived 4899:Archived 4837:Archived 4813:Cernat, 4800:Cernat, 4779:Archived 4758:Cernat, 4625:Cernat, 4539:, p. 219 4505:Archived 4487:10998949 4454:Cernat, 4441:Cernat, 4416:Archived 4404:Archived 4356:Cernat, 4334:Cernat, 4321:Cernat, 4308:Cernat, 4295:Cernat, 4282:Cernat, 4251:Cernat, 4242:, p. 247 4238:Cernat, 4229:, p. 222 4225:Cernat, 4194:Cernat, 4150:Cernat, 4137:Cernat, 4115:Cernat, 4102:Cernat, 4042:, p. 178 4038:Cernat, 3796:, p. 130 3792:Cernat, 3766:Archived 3691:Cernat, 3633:Cernat, 3620:Cernat, 3607:Cernat, 3540:Cernat, 3531:, p. 115 3483:Cernat, 3465:, p. 112 3443:, p. 112 3439:Cernat, 3383:Cernat, 3370:Cernat, 3300:Cernat, 3287:Cernat, 3251:Cernat, 3238:Cernat, 3229:, p. 188 3225:Cernat, 2997:See also 2963:Budapest 2745:Kabbalah 2705:Tiberias 2633:Art Deco 2617:De Stijl 2604:and the 2585:Integral 2489:El Greco 2441:Etruscan 2234:Simbolul 2146:Ein Hawd 2048:, whose 1938:Tel Aviv 1922:Islahiye 1894:ritual. 1806:Atheneum 1683:founder 1657:ceramics 1576:far left 1574:and the 1419:Between 1364:Simbolul 1264:Integral 834:Hans Arp 826:nihilism 787:linocuts 725:Dadaists 706:anti-art 678:chansons 657:pacifist 618:by poet 608:Futurism 562:Simbolul 552:Simbolul 545:Simbolul 541:Simbolul 520:Simbolul 498:Iovanaki 484:and the 459:Moldavia 358:Hans Arp 350:Futurism 341:Simbolul 299:Romanian 223:Art Deco 199:Futurism 175:Movement 169:tapestry 8264:Related 8240:Pop art 7984:Man Ray 7789:Man Ray 7720:archive 7676:at the 7495:Tribuna 7487:Tribuna 7403:7463753 7389:5717220 6668:Drăguț 6291:Drăguț 6245:Taschen 6180:5484893 6157:Drăguț 5830:Haaretz 5722:Cultura 4475:Scrieri 3304:, p. 39 2987:Bonhams 2875:Tribuna 2821:Belgian 2725:Zionist 2657:Marxism 2641:Predeal 2607:Bauhaus 2485:Cimabue 2437:African 2354:zodiacs 2324:collage 2247:Cézanne 2188:Am Oved 2046:Ein Hod 1910:England 1903:Ein Hod 1891:kashrut 1784:Zionist 1713:fascist 1397:Balchik 1379:Predeal 1248:lampoon 985:Béthune 821:woodcut 754:, the " 507:Flacăra 434:Ein Hod 320:Dadaism 290:French: 281:German: 137:woodcut 133:linocut 117:collage 76:Ein Hod 58:Romania 8245:Fluxus 8207:Parade 7959:Iliazd 7624: 7606: 7586: 7564: 7547: 7529: 7508: 7472: 7451: 7437: 7419: 7401: 7387: 7373: 7352: 6815: 6670:et al. 6413: 6380: 6293:et al. 6251: 6178: 6159:et al. 5758: 5415: 5216:24 May 5190:24 May 5017: 4703:24 May 4678:24 May 4652:24 May 4611:24 May 4586:24 May 4485: 3716: 3595: 2961:) and 2951:Berlin 2788:Legacy 2765:NO!art 2626:Soviet 2528:Munich 2422:ritual 2328:relief 2251:cubist 2190:album 2109:pastel 2085:, 1953 1986:Cyprus 1918:Turkey 1878:Allied 1838:Timpul 1761:Hitler 1703:, 1938 1661:fresco 1614:Orașul 1610:Orașul 1597:, the 1542:Orașul 1390:Brașov 1256:German 1252:French 1113:Vienna 1111:, the 1001:Hinges 977:France 913:. 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