Editing Marcel Janco (section)

===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>