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 I was of a sensitive and emotional nature, a withdrawn child who was predisposed to dreaming and meditating.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.
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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
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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
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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.
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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
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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
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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
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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
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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.
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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.
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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
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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
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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
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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
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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
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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
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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).
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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,
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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
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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
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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
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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
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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.
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as having generated fascination with their unusual "kinetic power", and useful for performing "larger-than-life characters and passions." However, Janco's understanding of
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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
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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
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1107:, which republished his drawings alongside the contributions of various Romanian avant-garde writers and artists. The reciprocal popularization was taken up by
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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,
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2277:. Among his early canvasses, the self-portraits and the portraits of clowns have been discussed as particularly notable samples of Romanian Expressionism.
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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:
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:
4667:
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:
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6801:
6795:
6791:Ziarul Financiar
6783:
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6755:
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6644:
6638:
6631:
6625:
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6612:
6605:
6599:
6592:
6586:
6575:Cezar Gheorghe,
6574:
6570:
6561:
6554:
6548:
6545:
6536:
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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:
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6209:
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6200:
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6191:
6188:
6182:
6168:
6162:
6155:
6144:
6143:Sandqvist, p. 75
6141:
6135:
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6126:
6123:
6117:
6113:România Literară
6098:
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5984:România Literară
5969:
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5566:
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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:
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5232:
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4998:
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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:
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4718:
4715:
4709:
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4690:
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4683:
4681:
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4674:. 29 August 2012
4664:
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4514:România Literară
4499:
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4468:
4459:
4452:
4446:
4439:
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4424:
4397:
4391:
4390:, 8 October 2008
4372:Ioana Paverman,
4371:
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4107:
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4094:
4081:
4075:
4071:Viața Românească
4066:
4057:
4054:
4043:
4036:
4030:
4027:
4021:
4018:
4012:
4003:
3946:
3945:Sandqvist, p. 99
3943:
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3928:
3927:Sandqvist, p. 98
3925:
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3823:Sandqvist, p. 95
3821:
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3797:
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3779:
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3747:
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3735:
3729:
3728:Sandqvist, p. 94
3726:
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3696:
3689:
3683:
3682:Sandqvist, p. 93
3680:
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3647:
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3625:
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3605:
3599:
3583:Deborah Caplow,
3581:
3575:
3563:
3554:
3553:Sandqvist, p. 34
3551:
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3305:
3298:
3292:
3285:
3279:
3278:Sandqvist, p. 78
3276:
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3256:
3249:
3243:
3236:
3230:
3223:
3217:
3205:
3201:
3182:
3179:
3173:
3172:Sandqvist, p. 72
3170:
3164:
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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:
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7164:
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7125:Wayback Machine
7104:
7103:
7099:
7087:Wayback Machine
7080:"Lecturi la zi"
7075:
7074:
7070:
7056:Augustin Ioan,
7053:
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7048:
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7009:
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6920:Wayback Machine
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6809:Nova Publishers
6802:
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6706:Wayback Machine
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6396:
6391:
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6367:
6363:
6351:Wayback Machine
6339:
6338:
6334:
6325:
6321:
6307:Raluca Băloiu,
6304:
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6108:Wayback Machine
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5979:Wayback Machine
5967:
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5942:
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5863:Trahair, p. 204
5862:
5858:
5853:
5849:
5841:
5837:
5822:
5801:
5789:, entry in the
5787:Wayback Machine
5778:
5765:
5745:
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5735:Wayback Machine
5718:Wayback Machine
5706:
5705:
5698:
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5676:
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5658:
5651:
5647:Roskies, p. 289
5646:
5639:
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5608:
5591:
5590:
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5564:
5563:
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5505:Wayback Machine
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:
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5204:
5203:
5199:
5189:
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5180:
5176:STEFAN LUCHIAN
5172:
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5138:
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5099:Wayback Machine
5084:
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4935:Wayback Machine
4920:
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4903:Wayback Machine
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4841:Wayback Machine
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4783:Wayback Machine
4771:
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4576:"IANCU, Marcel"
4574:
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4547:
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4534:
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4521:
4509:Wayback Machine
4497:
4496:
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4479:Editura Minerva
4469:
4462:
4453:
4449:
4440:
4436:
4431:
4427:
4420:Wayback Machine
4413:Plural Magazine
4408:Wayback Machine
4398:
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3831:
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3818:
3813:
3809:
3804:
3800:
3791:
3782:
3770:Wayback Machine
3759:Andrei Oișteanu
3755:
3754:
3750:
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3741:
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3478:
3473:
3469:
3460:
3456:
3451:
3447:
3438:
3431:
3426:
3422:
3410:"Dada trăiește"
3408:Alina Mondini,
3405:
3404:
3391:
3382:
3378:
3369:
3365:
3360:
3356:
3351:
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3048:
3043:
3042:
3025:
3021:
3016:
2999:
2959:Museum Folkwang
2867:Eugen Jebeleanu
2848:Michail Grobman
2828:Valery Oisteanu
2790:
2754:Herzliya Pituah
2734:Ofakim Hadashim
2701:
2661:Italian fascism
2649:humanitarianism
2564:
2544:art of children
2508:Kurt Schwitters
2481:Far Eastern art
2402:
2291:Gesamtkunstwerk
2269:Oskar Kokoschka
2209:
2204:
2130:Venice Biennale
2092:Ofakim Hadashim
2078:Ofakim Hadashim
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:
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8707:
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8672:
8667:
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8657:
8652:
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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:
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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:
8693:
8691:
8690:Romanian Jews
8688:
8686:
8683:
8681:
8678:
8676:
8673:
8671:
8668:
8666:
8663:
8661:
8658:
8656:
8653:
8651:
8648:
8646:
8643:
8641:
8638:
8636:
8633:
8631:
8628:
8626:
8623:
8621:
8618:
8616:
8613:
8611:
8608:
8606:
8603:
8601:
8598:
8596:
8593:
8591:
8588:
8586:
8583:
8581:
8578:
8576:
8573:
8571:
8568:
8566:
8563:
8561:
8558:
8556:
8553:
8551:
8548:
8546:
8543:
8541:
8538:
8536:
8533:
8531:
8528:
8526:
8523:
8521:
8518:
8516:
8513:
8511:
8508:
8506:
8503:
8501:
8498:
8496:
8493:
8491:
8488:
8486:
8483:
8481:
8478:
8476:
8473:
8471:
8468:
8466:
8463:
8461:
8458:
8456:
8453:
8451:
8448:
8446:
8443:
8441:
8438:
8436:
8433:
8431:
8428:
8426:
8423:
8421:
8418:
8416:
8413:
8411:
8408:
8406:
8403:
8401:
8398:
8396:
8393:
8391:
8388:
8386:
8383:
8381:
8378:
8377:
8375:
8359:
8358:
8354:
8351:
8350:
8346:
8344:
8341:
8339:
8336:
8334:
8331:
8329:
8326:
8324:
8321:
8319:
8316:
8314:
8311:
8309:
8308:Anti-anti-art
8306:
8304:
8301:
8299:
8296:
8294:
8291:
8289:
8286:
8284:
8281:
8278:
8275:
8272:
8269:
8268:
8266:
8262:
8256:
8253:
8251:
8248:
8246:
8243:
8241:
8238:
8236:
8233:
8231:
8228:
8226:
8223:
8222:
8220:
8216:
8210:
8208:
8204:
8201:
8198:
8196:
8193:
8191:
8188:
8187:
8185:
8181:
8175:
8174:
8170:
8167:
8166:
8165:The Blind Man
8162:
8160:
8158:
8154:
8152:
8150:
8146:
8144:
8141:
8140:
8138:
8134:
8127:
8126:
8122:
8119:
8118:
8117:The Gas Heart
8114:
8112:
8109:
8107:
8104:
8102:
8101:
8097:
8095:
8094:
8090:
8088:
8087:
8083:
8081:
8080:
8076:
8074:
8073:
8069:
8067:
8066:
8062:
8060:
8059:
8055:
8053:
8052:
8051:Bicycle Wheel
8048:
8047:
8045:
8041:
8035:
8034:Jacques Vaché
8032:
8030:
8029:Tristan Tzara
8027:
8025:
8022:
8020:
8017:
8015:
8012:
8010:
8009:Walter Serner
8007:
8005:
8002:
8000:
7997:
7995:
7992:
7990:
7987:
7985:
7982:
7980:
7977:
7975:
7972:
7970:
7967:
7965:
7962:
7960:
7957:
7955:
7952:
7950:
7947:
7945:
7944:Emmy Hennings
7942:
7940:
7937:
7935:
7932:
7930:
7927:
7925:
7922:
7920:
7917:
7915:
7912:
7910:
7907:
7905:
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:
7484:
7479:(in Romanian)
7477:
7475:
7474:973-9155-43-X
7471:
7467:
7463:
7459:
7456:
7454:
7450:
7446:
7442:
7440:
7439:0-7146-4440-4
7436:
7432:
7428:
7424:
7422:
7421:0-520-05095-9
7418:
7414:
7410:
7406:
7404:
7400:
7396:
7392:
7390:
7386:
7382:
7378:
7376:
7372:
7368:
7364:
7360:
7357:
7355:
7351:
7347:
7343:
7339:
7336:
7335:
7323:
7322:
7317:
7313:
7310:
7306:
7302:(in Romanian)
7298:
7291:
7290:
7285:
7280:(in Romanian)
7276:
7274:
7264:
7257:
7253:
7249:
7248:
7243:
7238:(in Romanian)
7234:
7227:
7226:
7221:
7216:(in Romanian)
7212:
7205:
7204:
7199:
7194:(in Romanian)
7190:
7184:, Nr. 38/2000
7183:
7182:
7177:
7173:
7170:
7165:(in Romanian)
7161:
7152:
7145:
7139:
7133:, Nr. 21/2001
7132:
7131:
7126:
7122:
7119:
7115:
7114:
7109:
7105:(in Romanian)
7101:
7095:, Nr. 34/2003
7094:
7093:
7088:
7084:
7081:
7076:(in Romanian)
7072:
7065:
7064:
7059:
7054:(in Romanian)
7050:
7043:
7042:
7037:
7032:(in Romanian)
7028:
7021:
7020:
7015:
7010:(in Romanian)
7006:
6997:
6990:
6986:
6981:(in Romanian)
6977:
6975:
6973:
6971:
6969:
6967:
6959:
6958:
6953:
6949:
6946:
6942:
6938:(in Romanian)
6934:
6928:, 18 May 2010
6927:
6926:
6921:
6917:
6914:
6908:
6899:
6892:
6891:
6886:
6881:(in Romanian)
6877:
6870:
6864:
6857:
6851:
6842:
6833:
6824:
6818:
6817:1-60021-032-5
6814:
6810:
6806:
6800:
6793:
6792:
6787:
6782:(in Romanian)
6778:
6772:Manor, p. 261
6769:
6763:Manor, p. 275
6760:
6751:
6742:
6735:
6734:
6729:
6724:(in Romanian)
6720:
6713:
6712:
6707:
6703:
6700:
6695:(in Romanian)
6691:
6685:, pp. 229–239
6684:
6678:
6672:, pp. 254–255
6671:
6665:
6659:, pp. 168–169
6658:
6652:
6643:
6636:
6630:
6624:, pp. 160–161
6623:
6617:
6610:
6604:
6598:, pp. 166–167
6597:
6591:
6584:
6583:
6578:
6573:(in Romanian)
6569:
6567:
6559:
6553:
6544:
6542:
6532:
6525:
6519:
6510:
6501:
6494:
6488:
6479:
6470:
6461:
6452:
6443:
6434:
6432:
6422:
6416:
6415:0-226-57168-8
6412:
6408:
6404:
6398:
6389:
6383:
6382:88-09-76129-4
6379:
6375:
6371:
6365:
6358:
6357:
6352:
6348:
6345:
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:
5707:(in Romanian)
5703:
5701:
5693:
5692:
5687:
5682:(in Romanian)
5678:
5671:
5665:
5656:
5654:
5644:
5642:
5634:
5628:
5619:
5610:
5603:
5602:
5597:
5592:(in Romanian)
5588:
5586:
5584:
5576:
5575:
5570:
5565:(in Romanian)
5561:
5559:
5557:
5555:
5553:
5551:
5549:
5547:
5539:
5538:
5533:
5528:(in Romanian)
5524:
5522:
5520:
5512:
5511:
5506:
5502:
5499:
5495:
5491:(in Romanian)
5487:
5485:
5483:
5481:
5479:
5477:
5475:
5468:, Nr. 22/1999
5467:
5466:
5461:
5457:
5454:
5449:(in Romanian)
5445:
5436:
5434:
5424:
5418:
5414:
5410:
5406:
5400:
5393:
5390:
5386:
5382:
5378:
5374:
5372:
5366:
5362:(in Romanian)
5358:
5351:
5345:
5339:, Nr. 28/2008
5338:
5337:
5332:
5328:
5325:
5320:(in Romanian)
5316:
5309:
5308:
5303:
5299:
5296:
5291:(in Romanian)
5287:
5281:, Nr. 33/2009
5280:
5279:
5274:
5270:
5267:
5262:(in Romanian)
5258:
5249:
5242:
5241:
5236:
5231:(in Romanian)
5227:
5211:
5207:
5201:
5186:
5179:
5177:
5169:
5160:
5153:
5152:
5147:
5143:
5139:(in Romanian)
5135:
5128:
5122:
5113:
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:
2379:
2375:
2371:
2367:
2363:
2359:
2355:
2351:
2347:
2343:
2338:
2337:
2336:Contimporanul
2331:
2329:
2325:
2321:
2316:
2311:
2309:
2308:Israel Museum
2305:
2301:
2297:
2293:
2292:
2287:
2283:
2278:
2276:
2275:
2270:
2266:
2265:
2260:
2259:Expressionism
2254:
2252:
2248:
2244:
2240:
2236:
2235:
2230:
2226:
2222:
2218:
2214:
2199:
2197:
2193:
2189:
2184:
2182:
2178:
2174:
2170:
2169:Harry Brauner
2166:
2162:
2158:
2154:
2149:
2147:
2143:
2142:Israel Police
2137:
2135:
2132:, he won the
2131:
2127:
2123:
2118:
2116:
2115:
2110:
2106:
2102:
2101:narrative art
2098:
2094:
2093:
2084:
2080:
2079:
2073:
2069:
2067:
2063:
2059:
2055:
2051:
2047:
2043:
2038:
2036:
2032:
2028:
2027:
2022:
2018:
2014:
2010:
2005:
2003:
1999:
1995:
1991:
1987:
1983:
1979:
1969:
1967:
1963:
1962:
1956:
1955:Ion Antonescu
1953:
1952:
1947:
1943:
1939:
1935:
1931:
1927:
1923:
1919:
1915:
1911:
1904:
1899:
1895:
1893:
1892:
1887:
1886:Choral Temple
1883:
1879:
1875:
1871:
1867:
1863:
1858:
1856:
1852:
1848:
1844:
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
1402:
1398:
1393:
1391:
1387:
1382:
1380:
1376:
1371:
1370:Contimporanul
1366:
1365:
1360:
1354:
1348:
1342:
1340:
1335:
1332:
1328:
1327:Horia Creangă
1324:
1320:
1319:functionalism
1316:
1311:
1309:
1305:
1304:Contimporanul
1301:
1297:
1287:
1285:
1281:
1277:
1273:
1269:
1265:
1261:
1257:
1253:
1249:
1245:
1241:
1240:
1235:
1234:Contimporanul
1231:
1227:
1222:
1220:
1219:Contimporanul
1216:
1212:
1208:
1207:Contimporanul
1204:
1200:
1196:
1195:A Merry Death
1192:
1191:Eugen Filotti
1188:
1184:
1180:
1176:
1172:
1168:
1161:
1160:Contimporanul
1157:
1156:Contimporanul
1153:
1148:
1146:
1142:
1141:Contimporanul
1138:
1133:
1132:Contimporanul
1126:
1125:Contimporanul
1121:
1118:
1114:
1110:
1106:
1102:
1101:Contimporanul
1098:
1094:
1093:French poetry
1090:
1089:Contimporanul
1086:
1082:
1081:Contimporanul
1078:
1076:
1072:
1068:
1064:
1063:
1062:Contimporanul
1053:
1052:Contimporanul
1048:
1046:
1041:
1037:
1032:
1028:
1026:
1025:
1020:
1016:
1015:
1010:
1006:
1002:
998:
994:
990:
986:
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:. The
748:Mexico
714:stilts
653:Zürich
379:Cubism
251:Awards
191:Cubism
165:fresco
145:pastel
121:relief
103:Zürich
80:Israel
8043:Works
7493:, in
7485:, in
7318:, in
7286:, in
7254:, in
7244:, in
7222:, in
7200:, in
7178:, in
7127:, in
7110:, in
7089:, in
7060:, in
7038:, in
7016:, in
6987:, in
6954:, in
6922:, in
6887:, in
6788:, in
6730:, in
6708:, in
6579:, in
6353:, in
6311:, in
6269:, in
6110:, in
6081:, in
6006:, in
5981:, in
5949:, in
5906:, in
5827:, in
5720:, in
5688:, in
5598:, in
5571:, in
5534:, in
5507:, in
5462:, in
5383:, in
5375:, in
5333:, in
5304:, in
5275:, in
5237:, in
5181:(PDF)
5148:, in
5101:, in
5049:, in
4978:, in
4937:, in
4905:, in
4876:, in
4843:, in
4785:, in
4643:(PDF)
4511:, in
4410:, in
4386:, in
4376:, in
4179:, in
4087:, in
3772:, in
3412:, in
3210:, in
3148:, in
3036:Jancu
3032:Janko
3028:Ianco
3014:Notes
2955:Essen
2774:Urmuz
2418:idols
2126:Milan
2062:Jenin
1792:Betar
1767:poet
1733:Greek
1550:Rampa
1515:'
1350:'
1347:Birou
1323:Birou
1308:trams
1250:, in
1239:Punct
1226:75 HP
1197:, by
1163:'
1128:'
981:Paris
842:opium
683:Iancu
616:Italy
610:, an
588:Urmuz
577:Seara
569:'
566:Seara
557:Seara
488:. At
482:Italy
416:, he
381:. At
301:name
131:art,
8615:Dada
7763:Dada
7709:and
7657:2016
7622:ISBN
7604:ISBN
7584:ISBN
7562:ISBN
7545:ISBN
7527:ISBN
7506:OCLC
7470:ISBN
7449:ISBN
7435:ISBN
7417:ISBN
7399:OCLC
7385:OCLC
7371:OCLC
7350:ISBN
6813:ISBN
6411:ISBN
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