Editing Marcel Janco (section)

==Biography==

===Early life===
Marcel Janco was born on 24 May 1895 in Bucharest to an [[upper middle class]] Jewish family.<ref>Sandqvist, p. 69, 172, 300, 333, 377</ref> His father, Hermann Zui Iancu, was a textile merchant. His mother, Rachel née Iuster, was from [[Moldavia]].<ref>Sandqvist, pp. 69, 79</ref> The couple lived outside [[Văcărești, Bucharest|Bucharest's Jewish quarter]], on Decebal Street.<ref name="ts69">Sandqvist, p. 69</ref> He was the oldest of four children. His brothers were Iuliu (Jules) and George. His sister, Lucia, was born in 1900.<ref name="ts69"/> 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.<ref>Sandqvist, pp. 69, 103</ref> 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 I was of a sensitive and emotional nature, a withdrawn child who was predisposed to dreaming and meditating.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."<ref name="vsconfes">{{in lang|ro}} Vlad Solomon, [http://www.observatorcultural.ro/ARTE-VIZUALE.-Confesiunea-unui-mare-artist*articleID_24829-articles_details.html "Confesiunea unui mare artist"], in ''[[Observator Cultural]]'', Nr. 559, January 2011</ref>

Janco attended Gheorghe Șincai School and studied drawing art with the Romanian Jewish painter and cartoonist [[Iosif Iser]].<ref>Sandqvist, pp. 69–70</ref> In his teenage years, the family traveled widely, from [[Austria-Hungary]] to [[Switzerland]], [[Italy]] and the [[Netherlands]].<ref>Sandqvist, p. 72</ref> At [[Gheorghe Lazăr National College (Bucharest)|Gheorghe Lazăr High School]], he met several students who would become his artistic companions: Tzara (known then as ''S. Samyro''), Vinea (''Iovanaki''), writers Jacques G. Costin and Poldi Chapier.<ref>Sandqvist, pp. 72–73</ref> Janco also became friends with pianist [[Clara Haskil]], the subject of his first published drawing, which appeared in ''[[Flacăra]]'' magazine in March 1912.<ref name="gsfrondistul">{{in lang|ro}} Geo Șerban, [http://www.observatorcultural.ro/Un-profil-Jacques-Frondistul*articleID_6309-articles_details.html "Un profil: Jacques Frondistul"], in ''[[Observator Cultural]]'', Nr. 144, November 2002</ref><ref>Cernat, ''Avangarda'', p. 188</ref>

As a group, the students were under the influence of [[Symbolist movement in Romania|Romanian Symbolist clubs]], 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 ''[[Simbolul]]'', which managed to receive contributions from some of Romania's leading modern poets, from [[Alexandru Macedonski]] to [[Ion Minulescu]] and [[Adrian Maniu]]. The magazine nevertheless struggled to find its voice, alternating [[modernism]] with the more conventional Symbolism.<ref>Cernat, ''Avangarda'', pp. 48–54, 100, 412; Pop, "Un 'misionar al artei noi' (I)", p. 9; Sandqvist, pp. 4, 7, 29-30, 75-78, 81, 196</ref> Janco was perhaps the main graphic designer of ''Simbolul'', and he may even have persuaded his wealthy parents to support the venture (which closed down in early 1913).<ref>Cernat, ''Avangarda'', pp. 50, 100; Sandqvist, pp. 73–75</ref> Unlike Tzara, who refused to look back on ''Simbolul'' with anything but embarrassment, Janco proudly regarded it as his first participation in artistic revolution.<ref>Sandqvist, pp. 77, 141, 209, 263. See also Pop, "Un 'misionar al artei noi' (I)", p. 9</ref>

After the ''Simbolul'' moment, Marcel Janco worked at ''[[Seara (newspaper)|Seara]]'' daily, where he took further training in draftsmanship.<ref name="ts78">Sandqvist, p. 78</ref> The newspaper took him in as illustrator, probably as a result of intercessions from Vinea, its literary columnist.<ref name="gsfrondistul"/> Their ''Simbolul'' colleague Costin joined them as ''Seara''{{'}}s cultural editor.<ref name="gsfrondistul"/><ref>Cernat, ''Avangarda'', pp. 34, 188</ref> Janco was also a visitor of the literary and art club meeting at the home of controversial politician and Symbolist poet [[Alexandru Bogdan-Pitești]], who was for a while the manager of ''Seara''.<ref>Cernat, ''Avangarda'', p. 39</ref>

It is possible that, during those years, Tzara and Janco first came to hear and be influenced by the [[Absurdism|absurdist]] prose of [[Urmuz]], the lonesome civil clerk and amateur writer who would later become the hero of Romanian modernism.<ref>Sandqvist, pp. 227, 234</ref> Years later, in 1923, Janco drew an ink portrait of Urmuz.<ref>Sandqvist, p. 226</ref> In maturity, he also remarked that Urmuz was the original rebel figure in [[Romanian literature]].<ref>Sandqvist, p. 235</ref> In the 1910s, Janco was also interested in the parallel development of [[French literature]], and read passionately from such authors as [[Paul Verlaine]] and [[Guillaume Apollinaire]].<ref>Sandqvist, pp. 67, 78</ref> Another immediate source of inspiration for his attitude on life was provided by [[Futurism]], an [[anti-establishment]] movement created in [[Italy]] by poet [[Filippo Tommaso Marinetti]] and his artists' circle.<ref name="ts237">Sandqvist, p. 237</ref>

===Swiss journey and Dada events===
[[File:Hugo Ball Cabaret Voltaire.jpg|thumb|240px|[[Hugo Ball]] in the "bishop dress", 1916]]
Janco eventually decided to leave Romania, probably because he wanted to attend international events such as the ''[[Sonderbund westdeutscher Kunstfreunde und Künstler|Sonderbund]]'' exhibit, but also because of quarrels with his father.<ref name="ts78"/> In quick succession after the start of [[World War I]], Marcel, Jules and Tzara left Bucharest for [[Zürich]]. According to various accounts, their departure may have been either a search for new opportunities (abundant in cosmopolitan Switzerland)<ref>Sandqvist, pp. 26, 78, 125</ref> or a discreet [[Pacifism|pacifist]] statement.<ref>Cernat, ''Avangarda'', pp. 113, 132</ref> Initially, the Jancos were registered with the [[University of Zurich]], where Marcel took Chemistry courses, before applying to study architecture at the [[ETH Zurich|Federal Institute of Technology]].<ref>Cernat, ''Avangarda'', pp. 111–112, 130; Sandqvist, pp. 78–80</ref> His real ambition, later confessed, was to pursue more training in painting.<ref name="vsconfes"/><ref name="amdada">{{in lang|ro}} Alina Mondini, [http://www.observatorcultural.ro/Dada-traieste*articleID_12817-articles_details.html "Dada trăiește"], in ''[[Observator Cultural]]'', Nr. 261, March 2005</ref> 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.<ref name="amdada"/><ref>Sandqvist, pp. 26, 66, 78-79, 190</ref> Marcel was noted for performing selections from [[Romanian folklore]] and playing the [[accordion]],<ref name="pc112">Cernat, ''Avangarda'', p. 112</ref> as well as for his rendition of ''[[chanson]]s''.<ref name="gsfrondistul"/><ref name="amdada"/> It was during this time that the young artist and his brothers began using the consecrated version of the surname ''Iancu'', probably in hopes that it would sound more familiar to foreigners.<ref>Sandqvist, pp. 26, 66</ref>

In this context, the Romanians came into contact with [[Hugo Ball]] and the other independent artists plying their trade at the Malerei building, which soon after became known as [[Cabaret Voltaire (Zürich)|Cabaret Voltaire]]. 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 [[Arthur Segal (painter)|Arthur Segal]].<ref>Sandqvist, p. 31. See also Cernat, ''Avangarda'', p. 112</ref> 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".<ref>Sandqvist, pp. 66–67, 97</ref>

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 [[anti-art]] performances of Tzara and [[Richard Huelsenbeck]].<ref>Cernat, ''Avangarda'', pp. 112–116; Sandqvist, pp. 31–32</ref> With help from Segal and others, Marcel Janco was personally involved in decorating the Cabaret Voltaire.<ref name="pc112"/> Its hectic atmosphere would inspire Janco to create an eponymous oil painting, dated 1916 and believed to have been lost.<ref>Sandqvist, pp. 27, 81</ref> He was a major contributor to the cabaret's events: he notably carved the grotesque masks worn by performers on [[stilts]], gave "hissing concerts" and, in unison with Huelsenbeck and Tzara, improvised some of the first (and mostly [[Onomatopoeia|onomatopoeic]]) "simultaneous poems" to be read on stage.<ref>Sandqvist, pp. 32, 35–36, 66–67, 84, 87, 189–190, 253, 259, 261, 265, 300, 332. See also Cernat, ''Avangarda'', pp. 111–113, 155; Pop, "Un 'misionar al artei noi' (I)", p. 9</ref>

His work with masks became especially influential, opening up a new field of theatrical exploration for the [[Dada]]ists (as the Cabaret Voltaire crew began calling themselves), and earning special praise from Ball.<ref>Harris Smith, pp. 6, 44</ref> 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.<ref>Sandqvist, pp. 37, 40, 90, 253, 332. See also Cernat, ''Avangarda'', p. 115</ref> 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.<ref>Cernat, ''Avangarda'', p. 116; Sandqvist, p. 153</ref> Janco also circulated stories according to which their shows were attended for informative purposes by [[Communism|communist]] theorist [[Vladimir Lenin]]<ref>Sandqvist, p. 34</ref> and psychiatrist [[Carl Jung]].<ref name="amdada"/>

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 [[Paul Klee]], calling Klee's contribution to the Dada exhibit a "great event".<ref name="kl96">[[Kay Larson]], "Art. Signs and Symbols", in ''[[New York Magazine]]'', 2 March 1987, p. 96</ref> His mask designs were popular beyond Europe, and inspired similar creations by [[Mexico]]'s [[Germán Cueto]], the "[[Stridentism|Stridentist]]" painter-puppeteer.<ref>Deborah Caplow, ''Leopoldo Méndez: Revolutionary Art and the Mexican Print'', [[University of Texas Press]], Austin, 2007, p. 38. {{ISBN|978-0-292-71250-8}}</ref> The Dadaist popularization effort received lukewarm responses in Janco's native country, where the traditionalist press expressed alarm at being confronted with Dada precepts.<ref>Cernat, ''Avangarda'', pp. 124–126, 129</ref> 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.<ref>Cernat, ''Avangarda'', pp. 120–124</ref> In a letter to Janco, Vinea spoke about having personally presented one of Janco's posters to modernist poet and art critic [[Tudor Arghezi]]: "[He] said, critically, that you cannot say whether a person is talented or not on the basis of only one drawing. Rubbish."<ref>Cernat, ''Avangarda'', p. 122; Sandqvist, p. 84</ref>

Exhibited at the Dada group shows, Janco also illustrated the Dada advertisements, including an April 1917 program which features his sketches of Ball, Tzara and Ball's actress wife [[Emmy Hennings]].<ref>Sandqvist, pp. 42, 84</ref> The event featured his production of [[Oskar Kokoschka]]'s farce ''Sphinx und Strohmann'', for which he was also the [[Scenic design|stage designer]], and which was turned into one of the most notorious among Dada provocations.<ref>Sandqvist, pp. 90–91, 261</ref> Janco was the director and mask designer for the Dada production for another one of Kokoschka's plays, ''Job''.<ref>Harris Smith, pp. 43–44</ref> He also returned as Tzara's illustrator, producing the [[linocut]]s to ''The First Heavenly Adventure of Mr. Antipyrine'', having already created the props for its theatrical production.<ref>Sandqvist, pp. 84, 147</ref>

==="Two-speeds" Dada and ''Das Neue Leben''===
[[File:Viking Eggeling Generalbass der Malerei.jpg|thumb|260px|[[Viking Eggeling]]'s drawings for a ''Generalbass der Malerei'' ("General Basis of Painting"), 1918]]
As early as 1917, Marcel Janco began taking his distance from the movement he had helped to generate. His work, in both [[woodcut]] and linocut, continued to be used as the illustration to Dada almanacs for another two years,<ref>Sandqvist, p. 93</ref> 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 something just as elaborate needed to take its place: in the conflict between Tzara's [[nihilism]] and Ball's [[art for art's sake]], Janco tended to support the latter.<ref>Cernat, ''Avangarda'', pp. 115, 130, 155, 160-162; Sandqvist, pp. 93–94</ref> 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 [[Hans Arp]].<ref>Nicholas Zurbrugg, ''The Parameters of Postmodernism'', [[Taylor & Francis]] e-library, 2003, p. 83. {{ISBN|0-203-20517-0}}</ref>

Janco recalled: "We [Janco and Tzara] couldn't agree any more on the importance of Dada, and the misunderstandings accumulated."<ref>Sandqvist, p. 94</ref> There were, he noted, "dramatic fights" sparked by Tzara's taste for "bad jokes and scandal".<ref>Pop, "Un 'misionar al artei noi' (I)", p. 9</ref> The artist preserved a grudge, and his retrospective views on Tzara's role in Zürich are often sarcastic, depicting him as an excellent organizer and vindictive self-promoter, but not truly a man of culture;<ref>Sandqvist, p. 144</ref> a few years into the scandal, he even started a rumor that Tzara was illegally trading in [[opium]].<ref>{{in lang|ro}} [[Andrei Oișteanu]], [http://www.revista22.ro/scriitorii-romani-si-narcoticele-6-avangardistii-4601.html "Scriitorii români și narcoticele (6). Avangardiștii"] {{Webarchive|url=https://web.archive.org/web/20110105081058/http://www.revista22.ro/scriitorii-romani-si-narcoticele-6-avangardistii-4601.html |date=5 January 2011 }}, in ''[[Revista 22]]'', Nr. 952, June 2008</ref> As noted in 2007 by Romanian literary historian [[Paul Cernat]]: "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".<ref name="pc130">Cernat, ''Avangarda'', p. 130</ref> With this split, there came a certain classicization in Marcel Janco's discourse. In February 1918, Janco was even invited to lecture at his ''[[alma mater]]'', where he spoke about modernism and [[authenticity in art]] as related phenomena, drawing comparisons between the [[Renaissance art|Renaissance]] and [[African art]].<ref>Sandqvist, pp. 80–81</ref> However, having decided to focus on his other projects, Janco nearly abandoned his studies, and failed his final exam.<ref>Sandqvist, pp. 81, 84</ref>

In this context, he moved closer to the cell of post-Dada Constructivists exhibiting collectively as ''Neue Kunst'' ("New Art")—Arp, [[Fritz Baumann]], [[Hans Richter (artist)|Hans Richter]], [[Otto Morach]].<ref>Sandqvist, p. 95</ref> As a result, Janco was made a member of ''Das Neue Leben'' faction, which supported an educational approach to modern art, coupled with [[Socialism|socialist]] ideals and Constructivist aesthetics.<ref>Sandqvist, pp. 95–97, 190, 264, 342–343; Van der Berg, pp. 139, 145–147. See also Cernat, ''Avangarda'', pp. 130, 155, 160-161</ref> In its [[art manifesto]], the group declared its ideal of "rebuild[ing] the human community" in preparation for the end of [[capitalism]].<ref>Sandqvist, p. 96. See also Van der Berg, p. 147</ref> Janco was even affiliated with ''Artistes Radicaux'', a more politically inclined section of ''Das Neue Leben'', where his colleagues included other former Dadas: Arp, Hans Richter, [[Viking Eggeling]].<ref>Van der Berg, pp. 147–148. See also Cernat, ''Avangarda'', pp. 160–161</ref> The ''Artistes Radicaux'' were in touch with the [[German Revolution of 1918–1919|German Revolution]], and Richter, who worked for the short-lived [[Bavarian Soviet Republic]], even offered Janco and the others virtual teaching positions at the [[Academy of Fine Arts, Munich|Academy of Fine Arts]] under a workers' government.<ref>Van der Berg, p. 139</ref>

===Between Béthune and Bucharest===
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.<ref>Sandqvist, pp. 91–92. See also Harris Smith, p. 6</ref> By May, he was mandated by ''Das Neue Leben'' 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: [[Arthur Segal (painter)|Arthur Segal]], [[Walter Gropius]], [[Alexej von Jawlensky]], Oscar Lüthy and [[Enrico Prampolini]].<ref>Sandqvist, pp. 97, 190, 342–343</ref> This period also witnessed the start of a friendly relationship between Janco and the [[Expressionism|Expressionist]] artists who published in [[Herwarth Walden]]'s magazine ''[[Der Sturm]]''.<ref name="dg389">Grigorescu, p. 389</ref>

A little more than a year after the end of war, in December 1919, Marcel and Jules left Switzerland for [[France]]. After passing through [[Paris]], the painter was in [[Béthune]], where he married Amélie Micheline "Lily" Ackermann, in what was described as a gesture of fronde against his father. The girl was a [[Roman Catholicism in Switzerland|Swiss Catholic]] of lowly condition, who had first met the Jancos at ''Das Neue Leben''.<ref>Sandqvist, pp. 97–99</ref> Janco was probably in Béthune for a longer while: he was listed as one of those considered for helping to rebuild war-affected [[French Flanders]], redesigned the Chevalier-Westrelin store in [[Hinges, Pas-de-Calais|Hinges]], and was perhaps the co-owner of an architectural enterprise, ''Ianco & Déquire''.<ref>Sandqvist, pp. 98–99, 340</ref> It is not unlikely that Janco followed with curiosity the activities of Dada's Parisian cell, which were overseen by Tzara and his pupil [[André Breton]], and he is known to have impressed Breton with his own architectural projects.<ref name="ts98">Sandqvist, p. 98</ref> He was also announced, with Tzara, as a contributor to the post-Dada magazine ''[[L'Esprit Nouveau]]'', published by [[Paul Dermée]].<ref>Meazzi, p. 122</ref> Nevertheless, Janco was invited to exhibit elsewhere, rallying with ''[[Section d'Or]]'', a Cubist collective.<ref name="ts98"/>

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.<ref>Sandqvist, p. 99</ref> 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 own family.<ref name="traseuurban">Doina Anghel, [http://www.e-cart.ro/asociatia/en/news/Urban_route_M.Iancu.pdf ''Urban Route. Marcel Iancu: The Beginnings of Modern Architecture in Bucharest''], E-cart.ro Association, 2008</ref><ref>Sandqvist, p. 99, 340</ref> 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.<ref>Sandqvist, pp. 340, 344</ref>

Soon after making his comeback, Marcel Janco reconnected himself with the local [[avant-garde]] salons, and had his first Romanian exhibits, at the ''Maison d'Art'' club in Bucharest.<ref>Cernat, ''Avangarda'', p. 178</ref> His friends and collaborators, among them actress Dida Solomon and journalist-director Sandu Eliad, would describe him as exceptionally charismatic and knowledgeable.<ref name="ts343">Sandqvist, p. 343</ref> In December 1926, he was present at the Hasefer Art Show in Bucharest.<ref name="adb414">Aurel D. Broșteanu, "Cronica artistică. Expoziția inaugurală Hasefer", in ''[[Viața Românească]]'', Nr. 12/1926, p. 414</ref> Around that year, Janco took commissions as an art teacher at his studio in Bucharest—in the words of his pupil, the future painter [[Hedda Sterne]], these were informal: "We were given easels, etc. but nobody looked, nobody advised us."<ref>Joan Simon, [http://www.artinamericamagazine.com/features/hedda-sterne/ "Hedda Sterne"], in ''[[Art in America]]'', 1 February 2007</ref>

===''Contimporanul'' beginnings===
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 ''[[Contimporanul]]''—historically, the longest-lived venue of the Romanian avant-garde.<ref>Cernat, ''Avangarda'', pp. 131–132; Sandqvist, p. 345</ref> Janco was abroad that year, as one of guests at the First Constructivist Congress, convened by Dutch artist [[Theo van Doesburg]] in [[Düsseldorf]].<ref>Cernat, ''Avangarda'', pp. 155, 164; Sandqvist, p. 341</ref> He was in Zürich around 1923, receiving the visit of a compatriot, writer [[Victor Eftimiu]], who declared him a hard-working artist able to reconcile the modern with the traditional.<ref>Sandqvist, pp. 93–94</ref>

''Contimporanul'' followed Janco's Constructivist affiliation. Initially a venue for socialist satire and political commentary, it reflected Vinea's strong dislike for the ruling [[National Liberal Party (Romania, 1875)|National Liberal Party]].<ref>Cernat, ''Avangarda'', pp. 130–145, 232–233; Sandqvist, pp. 343, 348–349</ref> 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.<ref>Cernat, ''Avangarda'', 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</ref> Some researchers have attributed the change exclusively to the painter's growing say in editorial policy.<ref name="mvipostaze">{{in lang|ro}} Mariana Vida, [http://www.observatorcultural.ro/Ipostaze-ale-modernismului-%28II%29*articleID_22909-articles_details.html "Ipostaze ale modernismului (II)"], in ''[[Observator Cultural]]'', Nr. 504, December 2009</ref><ref>Cernat, ''Avangarda'', pp. 130, 145–146, 157–158, 161–162, 178, 216; Pop, "Un 'misionar al artei noi' (I)", pp. 9–10</ref> Janco was at the time in correspondence with Dermée, who was to contribute the ''Contimporanul'' anthology of modern [[French poetry]],<ref>Meazzi, p. 123</ref> and with fellow painter [[Michel Seuphor]], who collected Janco's Constructivist sculptures.<ref>Prat, pp. 99, 104</ref> He maintained a link between ''Contimporanul'' and ''Der Sturm'', which republished his drawings alongside the contributions of various Romanian avant-garde writers and artists.<ref>Cernat, ''Avangarda'', p. 222</ref> The reciprocal popularization was taken up by ''Ma'', the [[Vienna]]-based tribune of [[Hungary|Hungarian]] modernists, which also published samples of Janco's graphics.<ref>Cernat, ''Avangarda'', p. 247</ref> 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.<ref>Cernat, ''Avangarda'', pp. 130, 217–218</ref>

Marcel Janco also took charge of ''Contimporanul''{{'}}s business side, designing its offices on Imprimerie Street and overseeing the publication of postcards.<ref>Sandqvist, pp. 350–351</ref> Over the years, his own contributions to ''Contimporanul'' 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.<ref>Sandqvist, p. 350</ref> He oversaw one of the journal's first special issues, dedicated to "Modern Architecture", and notably hosting his own contributions to architectural theory, as well as his design of a "country workshop" for Vinea's use.<ref>Cernat, ''Avangarda'', p. 162–164</ref> Other issues also featured his essay on film and theater, his furniture designs, and his interview with the French Cubist [[Robert Delaunay]].<ref>Cernat, ''Avangarda'', pp. 166–169</ref> Janco was also largely responsible for the ''Contimporanul'' issue on Surrealism, which included his interviews with writers such as [[Joseph Delteil]], and his inquiry about the publisher Simon Krà.<ref>Cernat, ''Avangarda'', pp. 216–217</ref>

Together with Romanian Cubist painter [[M. H. Maxy]], Janco was personally involved in curating the ''Contimporanul'' International Art Exhibit of 1924.<ref>Cernat, ''Avangarda'', p. 157; Grigorescu, p. 389; Sandqvist, pp. 351–354</ref> This event reunited the major currents of Europe's modern art, reflecting ''Contimporanul''{{'}}s eclectic agenda and international profile. It hosted samples of works by leading modernists: the Romanians Segal, [[Constantin Brâncuși]], [[Victor Brauner]], [[János Mattis-Teutsch]], [[Milița Petrașcu]], alongside Arp, Eggeling, Klee, Richter, [[Lajos Kassák]] and [[Kurt Schwitters]].<ref>Cernat, ''Avangarda'', p. 157; Sandqvist, p. 351</ref> 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 [[Eugen Filotti]].<ref>Sandqvist, pp. 351–352</ref> He was also involved in preparing the magazine's theatrical parties, including the 1925 production of ''A Merry Death'', by [[Nikolai Evreinov]]; Janco was the set and [[costume design]]er, and Eliad the director.<ref>Cernat, ''Avangarda'', p. 159; Sandqvist, p. 351</ref> An unusual echo of the exhibit came in 1925, when ''Contimporanul'' published a photograph of Brâncuși's ''Princess X'' sculpture. The [[Romanian Police]] saw this as a sexually explicit artwork, and Vinea and Janco were briefly taken into custody.<ref>{{in lang|ro}} Ioana Paverman, [http://www.observatorcultural.ro/Pop-Culture*articleID_20264-articles_details.html "Pop Culture"], in ''[[Observator Cultural]]'', Nr. 436, August 2008; Nicoleta Zaharia, Dan Boicea, [http://www.adevarul.ro/actualitate/Erotismul-clasicilor_0_26999151.html "Erotismul clasicilor"], in ''Adevărul Literar și Artistic'', 8 October 2008</ref> Janco was a dedicated admirer of Brâncuși, visiting him in Paris and writing in ''Contimporanul'' about Brâncuși's "spirituality of form" theories.<ref>Cristian R. Velescu, [http://www.plural-magazine.com/article_brancusi-and-the-significance-of-matter.html "Brâncuși and the Significance of Matter"] {{Webarchive|url=https://web.archive.org/web/20120403154220/http://www.plural-magazine.com/article_brancusi-and-the-significance-of-matter.html |date=3 April 2012 }}, in ''[http://www.plural-magazine.com/ Plural Magazine] {{webarchive|url=https://web.archive.org/web/20120321152817/http://www.plural-magazine.com/ |date=21 March 2012 }}'', Nr. 11/2001</ref>

In their work as cultural campaigners, Vinea and Janco even collaborated with ''75 HP'', a periodical edited by poet [[Ilarie Voronca]], which was nominally anti-''Contimporanul'' and pro-Dada.<ref>Sandqvist, p. 357</ref> Janco was also an occasional presence in the pages of ''[[Punct (magazine)|Punct]]'', the Dadaist-Constructivist paper put out by the socialist [[Scarlat Callimachi]]. It was here that he notably published articles on architectural styles and a [[Parody|lampoon]], in [[French language|French]] and [[German language|German]], titled ''T.S.F. Dialogue entre le bourgeois mort et l'apôtre de la vie nouvelle'' ("Cablegram. The Dialogue between a Dead Bourgeois and the Apostle of New Living").<ref name="mvipostaze"/><ref>Cernat, ''Avangarda'', pp. 160–161; Pop, "Un 'misionar al artei noi' (II)", p. 10</ref> In addition, his graphic work was popularized by Voronca's other magazine, the Futurist tribune ''Integral''.<ref>Cernat, ''Avangarda'', p. 154; Sandqvist, p. 371</ref> Janco was also called upon by authors [[Ion Pillat]] and [[Perpessicius]] to illustrate their ''Antologia poeților de azi'' ("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.<ref name="gt360-361">[[George Topîrceanu]], ''Scrieri'', Vol. II, [[Editura Minerva]], Bucharest, 1983, pp. 360–361. {{OCLC|10998949}}</ref> In 1926, Janco further antagonized the traditionalists by publishing sensual drawings for [[Camil Baltazar]]'s book of erotic poems, ''Strigări trupești lîngă glezne'' ("Bodily Exhortations around the Ankles").<ref>{{in lang|ro}} Gheorghe Grigurcu, [http://www.romlit.ro/despre_pornografie "Despre pornografie"] {{webarchive|url=https://web.archive.org/web/20081201082427/http://www.romlit.ro/despre_pornografie |date=1 December 2008 }}, in ''[[România Literară]]'', Nr. 2/2007</ref>

===Functionalist breakthrough===
Some time in the late 1920s, Janco set up an architectural studio ''Birou de Studii Moderne'' (Office of Modern Studies), a partnership with his brother Jules (Iulius), a venture often identified by the name ''Marcel Iuliu Iancu'', combining the two brothers as one.<ref>Sandqvist, pp. 340–341</ref> Heralding the change of architectural tastes with his articles in ''Contimporanul'', Marcel Janco described Romania's capital as a chaotic, inharmonious, backward town, in which the traffic was hampered by carts and [[tram]]s, a city in need of Modernist revolution.<ref>Sandqvist, p. 103. See also Cernat, ''Avangarda'', p. 219</ref>

Profiting from the building boom of [[Greater Romania]], and the rising popularity of [[Functionalism (architecture)|functionalism]], Janco's ''Birou'' received commissions from 1926 onwards that were occasional and small-scale. Compared with mainstream functionalist architects like [[Horia Creangă]], [[Duiliu Marcu]] or Jean Monda,<ref>Sandqvist, pp. 217, 341–342</ref> 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 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.

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 [[Romanian leu|lei]], and he created what is often described as the first Constructivist (and therefore Modernist) structure in Bucharest.<ref name="ts341-342">Sandqvist, pp. 341–342</ref><ref name="traseuurban"/> 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".<ref name="traseuurban"/> The architect and his patrons were undeterred by such reactions, and the Janco firm received commissions to build similar villas.

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.<ref name="traseuurban"/> This had little effect on the ''Birou''{{'}}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 north of the Jewish Quarter, just the east of the old town centre, reflecting the family and community ties of many of his commissions.<ref name="traseuurban"/>

A series of modernist villas for sometimes wealthy clients followed despite the Fuchs controversy.<ref name="IANCU, Marcel">{{cite web |title=IANCU, Marcel |url=http://www.e-architecture.ro/architecture/fisa.php?id=721&lang=EN |website=A Century of Romanian Architecture |publisher=Fundatia Culturala META |access-date=24 May 2019 |archive-date=27 November 2020 |archive-url=https://web.archive.org/web/20201127171119/http://e-architecture.ro/architecture/fisa.php?id=721&lang=EN |url-status=dead }}</ref> 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 Savu Street, was a simplified version of the Fuchs design. The Florica Chihăescu house on [[Șoseaua Kiseleff]] (1929) is surprisingly formal with a central porch below strip windows, and also marks collaboration with Milița Petrașcu from the 1924 exhibition who provided some statuary (now lost).<ref>{{cite web |title=(in Romanian) Villa Florica Chihăescu Marcel Iancu, 1930. |url=https://viabucuresti.ro/vila-florica-chihaescu-marcel-iancu1930/ |website=Via Bucuresti |access-date=24 May 2019}}</ref> 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.<ref name="traseuurban"/> 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 ''[[Simbolul]]'' friend Poldi Chapier; located on Ipătescu Alley and finished in 1929,<ref name="traseuurban"/> this is occasionally described as "Bucharest's first Cubist lodging", even though the Villa Fuchs was two year earlier.<ref>Cernat, ''Avangarda'', pp. 49, 100</ref> In 1931 he designed his first tenement/apartment building at Strada Caimatei 20, a small stack of 3 apartments 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 ''Contimporanul'' in 1932.<ref>{{cite web |title=Marcel Iancu - Urban Route |url=http://www.e-cart.ro/asociatia/en/news/Urban_route_M.Iancu.pdf |website=E-cart.ro Association |access-date=24 May 2019}}</ref> 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.<ref>{{cite web |title=Marcel Janco and Modernist Bucharest |url=http://adrianyekkes.blogspot.com/2012/08/marcel-janco-and-modernist-bucharest.html |website=Adrian Yekes |date=29 August 2012 |access-date=24 May 2019}}</ref> These projects are joined by a private [[sanatorium]] of [[Predeal]], Janco's only design outside of Bucharest. Built in 1934<ref>{{cite web |title=About Us |url=https://www.nevroze-predeal.ro/en/despre-noi/ |website=SANATORIUL DE NEVROZE PREDEAL |access-date=24 May 2019}}</ref> 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.<ref name="ts341-342"/>

Janco had one daughter from his marriage to Lily Ackermann, who signed her name [[Josine Ianco-Starrels]] (b. 1926), and was raised a Catholic.<ref>Sandqvist, pp. 97–98, 340, 377</ref> Her sister Claude-Simone had died in infancy.<ref name="ts340">Sandqvist, p. 340</ref> 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 [[Brașov]] home designed by Janco.<ref name="ts340"/> 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).<ref name="ts340"/>

With his new family, Janco lived a comfortable life, traveling throughout Europe and spending his summer vacations in the resort town of [[Balchik]].<ref name="ts340"/> The Jancos and the Costins also shared ownership of a country estate: known as ''Jacquesmara'',<ref name="ts378">Sandqvist, p. 378</ref> it was located in [[Comana, Giurgiu|Budeni-Comana]], [[Giurgiu County]].<ref name="vsconfes"/><ref name="gsfrondistul"/> The house is especially known for hosting [[Clara Haskil]] during one of her triumphant returns to Romania.<ref name="gsfrondistul"/>

===Between ''Contimporanul'' and ''Criterion''===
Janco was still active as the art editor of ''Contimporanul'' during its final and most eclectic series of 1929,<ref>Cernat, ''Avangarda'', pp. 169–171</ref> when he took part in selecting new young contributors, such as publicist and art critic [[Barbu Brezianu]].<ref>{{in lang|ro}} Filip-Lucian Iorga, [http://www.romlit.ro/barbu_brezianu "Barbu Brezianu"] {{Webarchive|url=https://web.archive.org/web/20160304054738/http://www.romlit.ro/barbu_brezianu |date=4 March 2016 }}, in ''[[România Literară]]'', Nr. 3/2008</ref> At that junction, the magazine triumphantly published a "Letter to Janco", in which the formerly traditionalist architect [[George Matei Cantacuzino]] spoke about his colleague's decade-long contribution to the development of Romanian functionalism.<ref name="traseuurban"/><ref>Cernat, ''Avangarda'', p. 170–171</ref> Beyond his ''Contimporanul'' affiliation, Janco rallied with the Bucharest collective ''Arta Nouă'' ("New Art"), also joined by Maxy, Brauner, Mattis-Teutsch, Petrașcu, [[Nina Arbore]], Cornelia Babic-Daniel, Alexandru Brătășanu, Olga Greceanu, Corneliu Michăilescu, [[Claudia Millian]], Tania Șeptilici and others.<ref>Cernat, ''Avangarda'', p. 179. See also Grigorescu, p. 442</ref>

Janco and some other regulars of ''Contimporanul'' also reached out to the Surrealist faction at ''[[unu]]'' review—Janco is notably mentioned as a "contributor" on the cover of ''unu'', Summer 1930 issue, where all 8 containing pages were purposefully left blank.<ref>{{in lang|ro}} [[Ioana Pârvulescu]], [http://www.romlit.ro/nonconformitii "Nonconformiștii"] {{Webarchive|url=https://web.archive.org/web/20120907052436/http://www.romlit.ro/nonconformitii |date=7 September 2012 }}, in ''[[România Literară]]'', Nr. 26/2001</ref> Janco prepared woodcuts for the first edition of Vinea's novel ''Paradisul suspinelor'' ("The Paradise of Sobs"), printed with Editura Cultura Națională in 1930,<ref name="gsberlin">{{in lang|ro}} Geo Șerban, [http://www.observatorcultural.ro/Marcel-Iancu-la-Berlin*articleID_21-articles_details.html "Marcel Iancu la Berlin"], in ''[[Observator Cultural]]'', Nr. 92, November 2011</ref><ref>{{in lang|ro}} Simona Vasilache, [http://www.romlit.ro/avangarda_napoi "Avangarda înapoi!"] {{Webarchive|url=https://web.archive.org/web/20120811190827/http://www.romlit.ro/avangarda_napoi |date=11 August 2012 }}, in ''[[România Literară]]'', Nr. 19/2006</ref> and for Vinea's poems in their magazine versions.<ref>{{in lang|ro}} [[Paul Cernat]], [http://www.revista-apostrof.ro/articole.php?id=155 "Avangarda maghiară în Contimporanul"] {{Webarchive|url=https://web.archive.org/web/20120331025755/http://www.revista-apostrof.ro/articole.php?id=155 |date=31 March 2012 }}, in ''[[Apostrof]]'', Nr. 12/2006</ref> His drawings were used in illustrating two volumes of interviews with writers, compiled by ''Contimporanul'' sympathizer [[Felix Aderca]],<ref>Cernat, ''Avangarda'', pp. 313–314; Crohmălniceanu, p. 618</ref> and Costin's only volume of prose, the 1931 ''Exerciții pentru mâna dreaptă'' ("Right-handed Exercises").<ref name="gsberlin"/><ref name="pcurmuziene">{{in lang|ro}} [[Paul Cernat]], [http://www.observatorcultural.ro/Urmuziene-si-nu-numai*articleID_7322-articles_details.html "Urmuziene și nu numai. Plagiatele 'urmuziene' ale unui critic polonez. Recuperarea lui Jacques G. Costin"], in ''[[Observator Cultural]]'', Nr. 151, January 2003</ref>

Janco attended the 1930 reunion organized by ''Contimporanul'' in honor of the visiting Futurist [[Filippo Tommaso Marinetti]], and gave a welcoming speech.<ref>Sandqvist, p. 237. See also Cernat, ''Avangarda'', pp. 174, 176</ref> Marinetti was again praised by the ''Contimporanul'' group (Vinea, Janco, Petrașcu, Costin) in February 1934, in an [[open letter]] stating: "We are soldiers of the same army."<ref>[[Giovanni Lista]], ''Marinetti et le futurisme'', L'Âge d'Homme, Lausanne, 1977, p. 239. {{ISBN|2-8251-2414-1}}</ref> These developments created a definitive split in Romania's avant-garde movement, and contributed to ''Contimporanul''{{'}}s eventual fall: the Surrealists and socialists at ''unu'' condemned Vinea and the rest for having established, through Marinetti, a connection with the [[Italian fascism|Italian fascists]].<ref>Cernat, ''Avangarda'', pp. 177, 229–232, 241–244</ref> After the incidents, Janco's art was openly questioned by ''unu'' contributors such as [[Stephan Roll]].<ref>{{in lang|ro}} Geo Șerban, [http://www.observatorcultural.ro/Ascensiunea-lui-Dolfi-Trost*articleID_25391-articles_details.html "Ascensiunea lui Dolfi Trost"], in ''[[Observator Cultural]]'', Nr. 576, May 2011</ref>

Although ''Contimporanul'' went bankrupt, an artistic faction of the same name survived until 1936.<ref>Cernat, ''Avangarda'', p. 179</ref> During the interval, Janco found other backers in the specialized art and architecture magazines, such as ''Orașul'', ''Arta și Orașul'', ''Rampa'', ''Ziarul Științelor și al Călătoriilor''.<ref name="traseuurban"/> In 1932, his villa designs were included by Alberto Sartoris in his guide to modern architecture, ''Gli elementi dell'architettura razionale''.<ref name="traseuurban"/><ref name="apaparareami">{{in lang|ro}} [[Andrei Pippidi]], [http://www.dilemaveche.ro/sectiune/bordeie-obiceie/articol/apararea-lui-marcel-iancu "În apărarea lui Marcel Iancu"] {{webarchive|url=https://web.archive.org/web/20120504140520/http://dilemaveche.ro/sectiune/bordeie-obiceie/articol/apararea-lui-marcel-iancu |date=4 May 2012 }}, in ''[[Dilema Veche]]'', Nr. 357, December 2010</ref> The early 1930s also witnessed Janco's participation with the literary and art society ''[[Criterion (literary society)|Criterion]]'', whose leader was philosopher [[Mircea Eliade]]. 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 [[far right]] and the [[far left]].<ref>Ornea, pp. 149–156</ref> With Maxy, Petrașcu, Mac Constantinescu, [[Petre Iorgulescu-Yor]], Margareta Sterian and others, Janco represented the art collective at ''Criterion'', which, in 1933, exhibited at Dalles Hall, Bucharest.<ref>Ornea, p. 149, 153. See also Cernat, ''Avangarda'', p. 179</ref> The same year, Janco erected a blockhouse for Costin (Paleologu Street, 5), which doubled as his own working address and the administrative office of ''Contimporanul''.<ref name="traseuurban"/>

From 1929, Janco's efforts to reform the capital received administrative support from [[Dem. I. Dobrescu]], the [[left-wing]] [[Mayor of Bucharest]].<ref>{{in lang|ro}} [[Andrei Pippidi]], [http://www.dilemaveche.ro/sectiune/ieri-cu-vedere-spre-azi/articol/casa-din-popa-rusu "Casa din Popa Rusu"], in ''[[Dilema Veche]]'', Nr. 232, July 2008</ref> 1934 was the year when Janco returned as architectural theorist, with ''Urbanism, nu romantism'' ("Urbanism, Not Romanticism"), an essay in the review ''Orașul''. Janco's text restated the need and opportunity for modernist urban planning, especially in Bucharest.<ref name="traseuurban"/> ''Orașul'', edited by Eliad and writer [[Cicerone Theodorescu]], introduced him as a world-famous architect and "revolutionary", praising the diversity of his contributions.<ref name="traseuurban"/> In 1935, Janco published the pamphlet ''Către o arhitectură a Bucureștilor'' ("Toward an Architecture of Bucharest"), which recommended a "utopian" project to solve the city's social crisis.<ref name="traseuurban"/><ref name="ts343"/> Like some of his ''Contimporanul'' colleagues, he was by then collaborating with ''Cuvântul Liber'', the self-styled "moderate left-wing review" and with [[Isac Ludo]]'s modernist magazine, ''Adam''.<ref>Crohmălniceanu, pp. 161–162, 345</ref>

The mid-1930s was his most prolific period as an architect, designing more villas, more small apartment buildings, and larger ones as well.<ref name="IANCU, Marcel"/> His Bazaltin Company headquarters, a mixed use project os offices and apartments that rose up to a topmost 9th floor on [[Charles de Gaulle Square|Jianu Square]], 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,<ref>{{cite web |title=A SITE OF HISTORY AND BUCHAREST ART - STRADA '' STEFAN LUCHIAN '' (in Romanian) 1989 |url=http://bmim.muzeulbucurestiului.ro/fisiere/13-Bucuresti-Materiale-de-Istorie-si-Muzeografie-XIII-1999_209.pdf |website=Muzeul Municipiului Bucharesti |access-date=24 May 2019}}</ref> 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.<ref name="traseuurban"/> 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.<ref name="traseuurban"/> One of his last projects was a collaboration with [[Milita Petrascu]] for her family home and studio, the Villa Emil Pătraşcu (1937) at Pictor Ion Negulici Street 19, a boldly blocky design.<ref>{{cite web |title=The post-mortem signature of Mileta Petrascu |url=https://www.bucurestiivechisinoi.ro/2012/06/semnatura-post-mortem-a-militei-petrascu/ |website=(in Romanian) Old and New Bucharest |date=17 June 2012 |access-date=24 May 2019}}</ref>

Together with Margareta Sterian, who became his disciple, Janco was working on artistic projects involving [[Ceramic art|ceramics]] and [[fresco]].<ref>{{in lang|ro}} Mariana Vida, [http://www.observatorcultural.ro/ARTE-VIZUALE.-Lumea-Margaretei-Sterian*articleID_10140-articles_details.html "Lumea Margaretei Sterian"], in ''[[Observator Cultural]]'', Nr. 206, February 2004</ref> In 1936, some works by Janco, Maxy and Petrașcu represented Romania at the Futurist art show in [[New York City]].<ref>Sandqvist, p. 218</ref> 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 ''Metamorfoze'';<ref>{{in lang|ro}} Simona Vasilache, [http://www.romlit.ro/vraja_interzis "Vraja interzisă"] {{Webarchive|url=https://web.archive.org/web/20120909185846/http://www.romlit.ro/vraja_interzis |date=9 September 2012 }}, in ''[[România Literară]]'', Nr. 33/2009</ref> in 1936, he published a posthumous portrait of writer [[Mateiu Caragiale]], to illustrate the Perpessicius edition of Caragiale's poems.<ref>{{in lang|ro}} Simona Vasilache, [http://www.romlit.ro/iluzia_luptei "Iluzia luptei"] {{Webarchive|url=https://web.archive.org/web/20160304053756/http://www.romlit.ro/iluzia_luptei |date=4 March 2016 }}, in ''[[România Literară]]'', Nr. 9/2009</ref> His prints also served to illustrate ''Sadismul adevărului'' ("The Sadism of Truth"), written by ''unu'' founder [[Sașa Pană]].<ref>{{in lang|ro}} Simona Vasilache, [http://www.romlit.ro/unicate "Unicate"] {{Webarchive|url=https://web.archive.org/web/20120907051752/http://www.romlit.ro/unicate |date=7 September 2012 }}, in ''[[România Literară]]'', Nr. 28/2008</ref>

===Persecution and departure===
[[File:Janco in Hula, 1938.jpg|thumb|320px|Janco and friends in the [[Hula Valley]], 1938]]
By that time, the Janco family was faced with the rise of [[antisemitism]], and alarmed by the growth of [[Fascism|fascist]] movements such as the [[Iron Guard]]. In the 1920s, the ''Contimporanul'' leadership had sustained a [[Xenophobia|xenophobic]] attack from the traditionalist review ''Țara Noastră''. It cited Vinea's [[Greeks of Romania|Greek]] origins as a cause for concern,<ref>Cernat, ''Avangarda'', p. 207</ref> and described Janco as the "painter of the cylinder", and an alien, cosmopolitan, Jew.<ref>{{in lang|ro}} [[Ion Gorun|Alexandru Hodoș]], [http://documente.bcucluj.ro/web/bibdigit/periodice/taranoastra/1924/BCUCLUJ_FP_451581_1924_005_005.pdf "Europenii dela ''Cuvântul Liber''"; "Însemnări"], in ''Țara Noastră'', Nr. 5/1924, pp. 138, 156; [http://dspace.bcucluj.ro/bitstream/123456789/9787/1/BCUCLUJ_FP_451581_1924_005_006.pdf "Dadaism, cubism, — et caetera..."], in ''Țara Noastră'', Nr. 6/1924, pp. 172–173 (digitized by the [[Babeș-Bolyai University]] [http://documente.bcucluj.ro/ Transsylvanica Online Library])</ref> That objection to Janco's work, and to ''Contimporanul'' in general, was also taken up in 1926 by the anti-modernist essayist [[I. E. Torouțiu]].<ref>Angelo Mitchievici, ''Decadență și decadentism în contextul modernității românești și europene'', [[Editura Curtea Veche]], Bucharest, 2011, pp. 160–161. {{ISBN|978-606-588-133-4}}</ref> ''Criterion'' itself split in 1934, when some of its members openly rallied with the Iron Guard, and the radical press accused the remaining ones of promoting [[pederasty]] through their public performances.<ref>Ornea, pp. 153–156</ref> Josine was expelled from [[Catholic school]] in 1935, the reason invoked being that her father was a Jew.<ref name="ts377">Sandqvist, p. 377</ref>

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".<ref name="ts377"/> He later confessed his dismay at the attacks targeting him: "nowhere, never, in Romania or elsewhere in Europe, during peacetime or the cruel years of [World War I], did anyone ask me whether I was a Jew or... a kike. [...] [[Adolf Hitler|Hitler]]'s Romanian minions managed to change this climate, to turn Romania into an antisemitic country."<ref name="vsconfes"/> The ideological shift, he recalled, destroyed his relationships with the ''Contimporanul'' poet [[Ion Barbu]], who reportedly concluded, after admiring a 1936 exhibit: "Too bad you're a kike!"<ref name="vsconfes"/> At around that time, pianist and fascist sympathizer [[Cella Delavrancea]] also assessed that Janco's contribution to theater was the prime example of "Jewish" and "bastard" art.<ref>{{in lang|ro}} Gheorghe Grigurcu, [http://www.romlit.ro/amazoana_artist "Amazoana artistă"] {{Webarchive|url=https://web.archive.org/web/20160304083537/http://www.romlit.ro/amazoana_artist |date=4 March 2016 }}, in ''[[România Literară]]'', Nr. 22/1999</ref>

When the antisemitic [[National Christian Party]] took power, Janco was coming to terms with the [[Zionism|Zionist]] ideology, describing the [[Land of Israel]] as the "cradle" and "salvation" of Jews the world over.<ref name="vsconfes"/><ref name="aomiinedit">{{in lang|ro}} [[Andrei Oișteanu]], [http://www.revista22.ro/marcel-iancu-inedit-6721.html "Marcel Iancu inedit"] {{Webarchive|url=https://web.archive.org/web/20111103111114/http://www.revista22.ro/marcel-iancu-inedit-6721.html |date=3 November 2011 }}, in ''[[Revista 22]]'', Nr. 1022, October 2009</ref> At Budeni, he and Costin hosted [[Betar]] paramilitaries, who were attempting to organize a Jewish self-defense movement.<ref name="vsconfes"/> Janco subsequently made his first trip to [[Mandatory Palestine|British Palestine]], and began arranging his and his family's relocation there.<ref name="vsconfes"/><ref name="ts378"/><ref name="aomiinedit"/><ref name="gsconstructorul">{{in lang|ro}} Geo Șerban, [http://www.observatorcultural.ro/Constructorul-Marcel-Iancu*articleID_25296-articles_details.html "Constructorul Marcel Iancu"], in ''[[Observator Cultural]]'', Nr. 573, May 2011</ref> 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.<ref name="ts378"/> 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 ''[[Jardin du Luxembourg]]''), the Emil Petrașcu residence,<ref name="traseuurban"/> and a tower behind the [[Romanian Athenaeum|Atheneum]].<ref name="gspopas">{{in lang|ro}} Geo Șerban, [http://www.observatorcultural.ro/Ein-Hod-popas-aniversar*articleID_20285-articles_details.html "Ein Hod – popas aniversar"], in ''[[Observator Cultural]]'', Nr. 436, August 2008</ref>

In 1939, the [[Nazi Germany|Nazi]]-aligned [[Ion Gigurtu]] cabinet enforced [[Racial antisemitism|racial discrimination]] throughout the land, and, as a consequence, ''Jaquesmara'' was [[Nationalization in Romania|confiscated by the state]].<ref name="ts378"/> Many of the Bucharest villas he had designed, which had Jewish landlords, were also taken over forcefully by the authorities.<ref name="traseuurban"/> Some months after, the [[National Renaissance Front]] government prevented Janco from publishing his work anywhere in Romania, but he was still able to find a niche at ''[[Timpul]]'' daily—its [[anti-fascist]] manager, [[Grigore Gafencu]], gave imprimatur to sketches, including the landscapes of Palestine.<ref name="gsconstructorul"/> He was also finding work with the [[ghetto]]ized Jewish community, designing the new [[State Jewish Theater (Romania)|Barașeum Studio]], located in the vicinity of Caimatei.<ref name="gsconstructorul"/>

During the first two years of [[World War II]], although he prepared his documents and received a special passport,<ref name="gsisr2006">{{in lang|ro}} Geo Șerban, {{usurped|1=[https://web.archive.org/web/20081122005902/http://www.romanianjewish.org/db/pdf/nr246/pagina8-9.pdf "Israel 2006. A trăi istoria, a face istorie"]}}, in ''[[Realitatea Evreiască]]'', Nr. 246 (1046), February 2006, p. 9</ref> Janco was still undecided. He was still in Romania when the Iron Guard established its [[National Legionary State]]. He was receiving and helping Jewish refugees from [[Nazi-occupied Europe]], and hearing from them about the [[Nazi concentration camps|concentration camp system]], but refused offers to emigrate into a neutral or [[Allies of World War II|Allied]] country.<ref name="vsconfes"/> His mind was made up in January 1941, when the Iron Guard's struggle for maintaining power resulted in the [[Legionnaires' rebellion and Bucharest pogrom|Bucharest Pogrom]]. 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 [[Templul Coral|Choral Temple]].<ref>Sandqvist, pp. 379–380</ref> The Străulești Abattoir murders and the stories of Jewish survivors also inspired several of Janco's drawings.<ref>Manor, p. 259; Roskies, pp. xi, 289–291, 307</ref> One of the victims of the Abattoir massacre was Costin's brother Michael Goldschlager. He was kidnapped from his house by Guardsmen,<ref name="vsconfes"/> and his corpse was among those found hanging on hooks, mutilated in such way as to mock the Jewish ''[[kashrut]]'' ritual.<ref name="aomiinedit"/><ref>Sandqvist, pp. 379–380. See also Cernat, ''Avangarda'', p. 189</ref>

[[File:Janco studio 003.jpg|thumb|280px|Janco's studio in [[Ein Hod]]]]
Janco later stated that, over the course of a few days, the pogrom had made him a militant Jew.<ref name="vsconfes"/><ref name="dgr289">Roskies, p. 289</ref> With clandestine assistance from [[England]],<ref name="vsconfes"/> Marcel, Medi and their two daughters left Romania through [[Constanța]] harbor, and arrived in [[Turkey]] on 4 February 1941. They then made their way to [[Islahiye]] and [[Mandate for Syria and the Lebanon|French Syria]], crossing through the [[Kingdom of Iraq]] and [[Emirate of Transjordan|Transjordan]], and, on 23 February, ended their journey in [[Tel Aviv]].<ref name="ts380">Sandqvist, p. 380</ref> The painter found his first employment as architect for Tel Aviv's city government, sharing the office with a [[Holocaust]] survivor who informed him about the genocide in [[Occupation of Poland (1939–1945)|occupied Poland]].<ref name="vsconfes"/> In Romania, the new regime of ''[[Conducător]]'' [[Ion Antonescu]] planned a new series of antisemitic measures and atrocities (''see [[Holocaust in Romania]]''). In November 1941, Costin and his wife Laura, who had stayed behind in Bucharest, were among those deported to the occupied region of [[Transnistria (World War II)|Transnistria]].<ref name="ts380"/> Costin survived, joining up with his sister and with Janco in Palestine, but later moved back to Romania.<ref>Cernat, ''Avangarda'', pp. 189, 409</ref>

===In British Palestine and Israel===
During his years in British Palestine, Marcel Janco became a noted participant in the development of [[Visual arts in Israel|local Jewish art]]. 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, [[Reuven Rubin]], Jacob Eisenscher;<ref>{{in lang|ro}} Mirel Horodi, [http://www.observatorcultural.ro/Pe-ruta-culturala-Bucuresti-Tel-Aviv*articleID_25199-articles_details.html "Pe ruta culturală București – Tel Aviv"], in ''[[Observator Cultural]]'', Nr. 570, April 2011</ref> David, who was Janco's friend in Bucharest, joined him in Tel Aviv after an adventurous trip and internment in [[Cyprus]].<ref name="rcjdavid">{{in lang|ro}} Radu Comșa, [http://www.romaniaculturala.ro/articol.php?cod=11823 "Jean David – un centenar uitat"] {{webarchive|url=https://web.archive.org/web/20120402083940/http://www.romaniaculturala.ro/articol.php?cod=11823 |date=2 April 2012 }}, in ''Cultura'', Nr. 5/2008 (republished by [http://www.romaniaculturala.ro/ ''România Culturală'']  {{webarchive|url=https://web.archive.org/web/20110902021335/http://www.romaniaculturala.ro/ |date=2 September 2011 }})</ref> In particular, Janco was an early influence on three Zionist artists who had arrived to Palestine from other regions: [[Avigdor Stematsky]], [[Yehezkel Streichman]] and [[Joseph Zaritsky]].<ref>Constance Harris, ''The Way Jews Lived: Five Hundred Years of Printed Words and Images'', [[McFarland & Company]], Jefferson, 2009, p. 437. {{ISBN|978-0-7864-3440-4}}</ref> He was soon recognized as a leading presence in the artist community, receiving Tel Aviv Municipality's [[Dizengoff Prize]] in 1945, and again in 1946.<ref name="jancoimj">[http://www.imj.org.il/artcenter/default.asp?artist=279567&list=A "Marcel Janco"] {{Webarchive|url=https://web.archive.org/web/20120404031612/http://www.imj.org.il/artcenter/default.asp?artist=279567&list=A |date=4 April 2012 }}, entry in the [[Israel Museum]]'s [[Information Center for Israeli Art]]; retrieved 6 September 2011</ref>

These contacts were not interrupted by the [[1948 Arab–Israeli War]], and Janco was a figure of prominence in the art scene of independent Israel. The new nation enlisted his services as planner, and he was assigned to the team of [[Arieh Sharon]], being tasked with designing and preserving the [[National parks and nature reserves of Israel|Israeli national parks]].<ref name="ezsurrjanko">Esther Zandberg, [http://www.haaretz.com/culture/arts-leisure/surroundings-janko-the-architect-1.169839 "Surroundings. Janko the Architect"], in ''[[Haaretz]]'', 15 September 2005</ref> As a result of his intervention, in 1949 the area of [[Old City (Jaffa)|Old Jaffa]] was turned into an artist-friendly community.<ref name="ezsurrjanko"/> He was again a recipient of the Dizengoff Prize in 1950 and 1951, resuming his activity as an art promoter and teacher, with lectures at the ''[[Seminar HaKibbutzim]]'' college (1953).<ref name="jancoimj"/> His artwork was again on show in New York City for a 1950 retrospective.<ref name="aomiinedit"/> In 1952 he was one of three artists whose work was displayed at the Israeli pavilion at the [[Venice Biennale]], the first year Israel had its own pavilion at the Biennale. The other two artists were Reuven Rubin and [[Moshe Mokady]].<ref>''Catalogo: XXVI Biennale di Venezia'', Alfieri Editore, Venice, 1952, pp. 318–321</ref>

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 [[Mount Carmel]].<ref>Slyomovics (1995), p. 44; Trahair, p. 204</ref> In his own account (since disputed by others),<ref name="ezsurrjanko"/> he came across the deserted village of [[Ein Hod]], whose [[Palestinian people|Palestinian]] inhabitants had been largely displaced during the [[1948 Palestinian exodus|1948 expulsion]]. 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;<ref>Trahair, p. 204</ref> Janco's main residence continued to be in the neighborhood of [[Ramat Aviv]].<ref name="gspopas"/> His plot of land in Ein Hod was previously owned by the Arab Abu Faruq, who died in 1991 at the [[Jenin]] refugee camp.<ref>Slyomovics (2010), p. 414</ref> Janco became the site's first mayor, reorganizing it into a utopian society, [[art colony]] and tourist attraction, and instituted the strict code of requirements for one's settlement in Ein Hod.<ref>Trahair, pp. 113–114, 204</ref>

[[File:Ofakim Hadasim 005-2.jpg|thumb|280px|Janco (second from left) with ''[[Ofakim Hadashim]]'' colleagues at the [[Tel Aviv Museum of Art]], 1953]]
Also in the 1950s, Janco was a founding member of ''[[Ofakim Hadashim]]'' ("New Horizons") group, comprising Israeli painters committed to [[abstract art]], and headed by Zaritsky. Although he shared the artistic vision, Janco probably did not approve of Zaritsky's rejection of all [[narrative art]] and, in 1956, left the group.<ref>Manor, pp. 261, 276</ref><ref name="ngartinisr">Nissim Gal, [http://www.gloria-center.org/meria/2009/03/gal.html "Art in Israel, 1948-2008: A Partial Panorama"]{{dead link|date=January 2018 |bot=InternetArchiveBot |fix-attempted=yes }}, in ''[[Middle East Review of International Affairs]]'', Nr. 1/2009</ref> He continued to explore new media, and, together with artisan Itche Mambush, he created a series of reliefs and [[Tapestry|tapestries]].<ref name="gspopas"/><ref name="lshianco">{{in lang|ro}} Liana Saxone-Horodi, [http://www.observatorcultural.ro/Marcel-Ianco-%28Jancu%29-intr-o-noua-prezentare*articleID_25229-articles_details.html "Marcel Ianco (Jancu) într-o nouă prezentare"], in ''[[Observator Cultural]]'', Nr. 571, April 2011</ref> Janco also drew in [[pastel]], and created humorous illustrations to ''[[Don Quixote]]''.<ref name="gsisr2006"/>

His individual contributions received further praise from his peers and his public: in 1958, he was honored with the [[Histadrut]] union's prize.<ref name="jancoimj"/> Over the next two decades, Marcel Janco had several new personal exhibits, notably in Tel Aviv (1959, 1972), [[Milan]] (1960) and Paris (1963).<ref name="aomiinedit"/> Having attended the 1966 [[Venice Biennale]],<ref name="idharry">{{in lang|ro}} Iordan Datcu, [http://www.romlit.ro/amintirile_lui_harry_brauner "Amintirile lui Harry Brauner"] {{Webarchive|url=https://web.archive.org/web/20180306202418/http://www.romlit.ro/amintirile_lui_harry_brauner |date=6 March 2018 }}, in ''[[România Literară]]'', Nr. 25/2008</ref> he won the [[Israel Prize]] of 1967, in recognition of his work as painter.<ref name="aomiinedit"/><ref name="jancoimj"/><ref name="ezsurrjanko"/><ref name="lshianco"/><ref name="isrbonhams">[http://www.artdaily.org/index.asp?int_sec=2&int_new=46453 "Israeli Art & Judaica to Make First Appearance in Sale at Bonhams in London"], in ''ArtDaily''; retrieved 8 September 2011</ref>

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 [[Israel Police]] intervened against the protesters.<ref>Slyomovics (2010), p. 427</ref> Janco was generally tolerant of those Palestinians who set up the small rival community of [[Ein Hawd]]: 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.<ref>Slyomovics (1995), pp. 49–50</ref> Janco has also been described as "disinterested" in the fate of his Arab neighbors.<ref name="ezsurrjanko"/>

For a second time, Janco reunited with Costin when the latter fled [[Communist Romania]]. The writer was a political refugee, singled out at home for [[Rootless cosmopolitan|"Zionist" activities]], and implicated in the [[show trial]] of Milița Petrașcu.<ref name="pcurmuziene"/><ref>Cernat, ''Avangarda'', p. 409</ref> Costin later left Israel, settling in France.<ref name="gsfrondistul"/><ref>Cernat, ''Avangarda'', p. 189</ref> Janco himself made efforts to preserve a link with Romania, and sent albums to his artist friends beyond the [[Iron Curtain]].<ref name="jpmodernist">[[Jane Perlez]], [https://www.nytimes.com/1997/01/14/arts/bucharest-rediscovers-houses-by-a-modernist.html?scp=6&sq=janco&st=nyt "Bucharest Rediscovers Houses by a Modernist"], in ''[[The New York Times]]'', 14 January 1997</ref> He met with folklorist and former political prisoner [[Harry Brauner]],<ref name="idharry"/> poet Ștefan Iureș, painter Matilda Ulmu and art historian Geo Șerban.<ref name="gspopas"/><ref name="gsisr2006"/> His studio was home to other Jewish Romanian emigrants fleeing communism, including female artist Liana Saxone-Horodi.<ref name="gspopas"/><ref name="lshianco"/> 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 ''Shevet Romania'' magazine.<ref name="vsconfes"/> A year later, from his home in [[Australia]], the modernist promoter [[Lucian Boz]] headlined a selection of his works with Janco's portrait of the author.<ref>{{in lang|ro}} Ilie Rad, [http://www.romlit.ro/recuperarea_unui_scriitor_lucian_boz "Recuperarea unui scriitor: Lucian Boz"] {{Webarchive|url=https://web.archive.org/web/20160304060018/http://www.romlit.ro/recuperarea_unui_scriitor_lucian_boz |date=4 March 2016 }}, in ''[[România Literară]]'', Nr. 34/2009</ref>

Also in 1981, a selection of Janco's drawings of Holocaust crimes was issued with the [[Am Oved]] album ''Kav Haketz/On the Edge''.<ref name="vsconfes"/> The following year, he received the "Worthy of Tel Aviv" distinction, granted by the city government.<ref name="jancoimj"/> 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.<ref name="traseuurban"/><ref name="aomiinedit"/><ref name="gspopas"/><ref name="lshianco"/><ref name="isrbonhams"/> By then, Janco is said to have been concerned about the overall benefits of Jewish relocation into an Arab village.<ref>Slyomovics (1995), p. 51</ref> Among his final appearances in public was a 1984 interview with [[Schweizer Fernsehen]] station, in which he revisited his Dada activities.<ref name="amdada"/>