For Sale on 1stdibs - Still Life by Marcel Janco, Oil Paint by Marcel Janco. That … [162], During his years in British Palestine, Marcel Janco became a noted participant in the development of local Jewish art. [4] He was the oldest of four children. "[6], Janco attended Gheorghe Șincai School and studied drawing art with the Romanian Jewish painter and cartoonist Iosif Iser. [167], For a second time, Janco reunited with Costin when the latter fled Communist Romania. A trăi istoria, a face istorie", "Art in Israel, 1948-2008: A Partial Panorama", Middle East Review of International Affairs, "Marcel Ianco (Jancu) într-o nouă prezentare", "Israeli Art & Judaica to Make First Appearance in Sale at Bonhams in London", "Bucharest Rediscovers Houses by a Modernist", "Israeli & International Art Sale To Be Held at Sotheby's New York", "Bienala Bucureștiului. [71] In 1932, his villa designs were included by Alberto Sartoris in his guide to modern architecture, Gli elementi dell'architettura razionale. [36] The actual birth of "Dadaism", at an unknown date, later formed the basis of disputes between Tzara, Ball, and Huelsenbeck. 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. [117] The artist remarried to Clara "Medi" Goldschlager, the sister of his old friend Jacques G. Costin. Marcel Janco was born in 1895 in Romania. framed to 22.5 X 25 inches. The earliest works by Janco show the influence of Iosif Iser, adopting the visual trappings of Postimpressionism and illustrating, for the first time in Janco's career, the interest in modern composition techniques; Liana Saxone-Horodi believes that Iser's manner is most evident in Janco's 1911 work, Self-portrait with Hat, preserved at the Janco-Dada Museum. [175][216], 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". In 1915 he began his architecture studies in Zurich where he met his future friends, the artist Jan Arp and poet Tristan Tzara. [153][166][167][175][177], In 1960, Janco's presence in Ein Hod was challenged by the returning Palestinians, who tried to reclaim the land. He parted with Dada in 1919, when he and painter Hans Arp founded a Constructivist circle, Das Neue Leben. Career Highlights. [231], During and after his Ofakim Hadashim engagement, Marcel Janco again moved into the realm of pure abstraction, which he believed represented the artistic "language" of a new age. Marcel Janco was born on May 24, 1895 in Bucharest to an upper middle class Jewish family. [206] Seiwert and Sandqvist both propose that Janco's work had other enduring connections with the visual conventions of Hassidism and the dark tones often favored by 20th-century Jewish art. [153] Having attended the 1966 Venice Biennale,[176] he won the Israel Prize of 1967, in recognition of his work as painter. [212] Instead, Janco was publicizing the idea that Dada and various other strands of modernism were the actual tradition, for being indirectly indebted to the absurdist nature of Romanian folklore. [21] 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. Leonardo Da Vinci. "[109] Functionalism was further illustrated by Janco's ideas on furniture design, where he favored "small heights", "simple aesthetics", as well as "a maximum of comfort"[224] which would "pay no tribute to richness". [124], 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 Zurich in 1916. [166] 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. [71][153][155][175][177] By then, Janco is said to have been concerned about the overall benefits of Jewish relocation into an Arab village. [...] I grew up [...] dominated by a strong sense of humanity and social justice. [220], In discussing architecture, Janco described himself and the other Artistes Radicaux as the mentors of Europe's modernist urban planners, including Bruno Taut and the Bauhaus group. [210], The activity at Contimporanul cemented Janco's belief in primitivism and the values of outsider art. Images. [203], At the end of the Dada episode, Janco also took his growing interest in primitivism to the level of academia: in his 1918 speech at the Zurich Institute, he declared that African, Etruscan, Byzantine and Romanesque arts were more genuine and "spiritual" than the Renaissance and its derivatives, while also issuing special praise for the modern spirituality of Derain, Vincent van Gogh, Pablo Picasso and Henri Matisse; his lecture rated all Cubists above all Impressionists. 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 [193] However, his own work also features the quintessentially Dada found object art, or everyday objects rearranged as art—reportedly, he was the first Dadaist to experiment in such manner. Get started. [92] Other issues also featured his essay on film and theater, his furniture designs, and his interview with the French Cubist Robert Delaunay. He parted with Dada in 1919, when he and painter Hans Arp founded a Constructivist circle, Das Neue Leben. [10] Their Simbolul colleague Costin joined them as Seara's cultural editor. At Contimporanul, Janco expounded a "revolutionary" vision of urban planning. [35] Contrary to Ball's later claim of authorship, Janco is also credited with having tailored the "bishop dress", another one of the iconic products of early Dadaism. [198] The Expressionist transfiguration of shapes was especially noted in his drawings of Mateiu Caragiale and Stephan Roll, created from harsh and seemingly spontaneous lines. Another project was a house for his Simbolul friend Poldi Chapier; located on Ipătescu Alley and finished in 1929,[71] this is occasionally described as "Bucharest's first Cubist lodging", even though the Villa Fuchs was two year earlier. Besides them, Raymond Hood has also given a significant contribution to this art. Marcel Janco’s life history can be divided into two main chapters: 46 years in Europe and 43 inIsrael. 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 and African art. Initially a venue for socialist satire and political commentary, it reflected Vinea's strong dislike for the ruling National Liberal Party. "[6] The ideological shift, he recalled, destroyed his relationships with the Contimporanul poet Ion Barbu, who reportedly concluded, after admiring a 1936 exhibit: "Too bad you're a kike! [86] He maintained a link between Contimporanul and Der Sturm, which republished his drawings alongside the contributions of various Romanian avant-garde writers and artists. [71] 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. [188], The influence of Germanic Postimpressionism on Janco's art was crystallized during his studies at the Federal Institute of Technology. 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. 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. [56] However, having decided to focus on his other projects, Janco nearly abandoned his studies, and failed his final exam. [253] The local art market rediscovered Janco's art, and, in June 2009, one of his seascapes sold in auction for 130,000 Euro, the second largest sum ever fetched by a painting in Romania. A row of ocean liner portholes on the upper level in the Fuchs Villa, are a nod toward the Art Deco aesthetic. Marcel Janco was one of the founders of the Dada movement in 1916 a major art movement of the 20th century. Perioada modernă (1830-1945)", "Literatura română și cercetările esoterice", "A New Promised Art" (interview with Fabien Béjean-Lebenson), "Marea arhitectură, între ruine și termopane", "Samsarii imobiliari, moștenitorii dictatorului", "Programul simpozionului international ICARE", "O expoziție revelatoare: Artiști evrei din România", "Cele mai scumpe 10 picturi vândute în România după 1990", "Un Brâncuși necunoscut, scos la vânzare în București", " Un 'misionar al artei noi': Marcel Iancu (I)", " Un 'misionar al artei noi': Marcel Iancu (II)", https://en.wikipedia.org/w/index.php?title=Marcel_Janco&oldid=987604731, Gheorghe Lazăr National College (Bucharest) alumni, Romanian emigrants to Mandatory Palestine, Articles with Romanian-language sources (ro), Articles with dead external links from January 2018, Articles with permanently dead external links, Pages using infobox artist with unknown parameters, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SIKART identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. [187] The style was ridiculed at the time by traditionalist poet George Topîrceanu, who wrote that, in Antologia poeților de azi, Ion Barbu looked "a Mongolian bandit", Felix Aderca "a shoemaker's apprentice", and Alice Călugăru "an alcoholic fishwife". [10][26] 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. His brothers were Iuliu (Jules) and George. Avangardiștii", "Brâncuși and the Significance of Matter", "(in Romanian) Villa Florica Chihăescu Marcel Iancu, 1930", "Urmuziene și nu numai. [71], Scholars have also noted that "the breath of humanitarianism" unites the work of Janco, Maxy and Corneliu Michăilescu, beyond their shared eclecticism. [166] His artwork was again on show in New York City for a 1950 retrospective. [32] With help from Segal and others, Marcel Janco was personally involved in decorating the Cabaret Voltaire. "The New Ein Houd", in Esther Hertzog, Orit Abuhav, Harvey E. Goldberg. Here we offer you expert definitions of Art Deco in addition to engaging articles to help you better understand the unique architecture, design, and culture of the 1920s and 30s. See also Cernat. 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. [158] One of the victims of the Abattoir massacre was Costin's brother Michael Goldschlager. [6][160] With clandestine assistance from England,[6] Marcel, Medi and their two daughters left Romania through Constanța harbor, and arrived in Turkey on February 4, 1941. At Contimporanul, Janco expounded a "revolutionary" vision of urban planning. [81] However, by 1923, the journal became increasingly cultural and artistic in its revolt, headlining with translations from van Doesburg and Breton, publishing Vinea's own homage to Futurism, and featuring illustrations and international notices which Janco may have handpicked himself. Click on any image to learn more. [96] 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.

marcel janco art deco

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