marcel janco art deco

[13] Unlike Tzara, who refused to look back on Simbolul with anything but embarrassment, Janco proudly regarded it as his first participation in artistic revolution. [142] In 1936, some works by Janco, Maxy and Petrașcu represented Romania at the Futurist art show in New York City. [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. [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. 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. "Discourses on the pre-1948 Palestinian Village: The Case of Ein Hod/Ein Houd", in Annelies Moors, Toine van Teeffelen. He was the oldest of four children. [6] 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. [177] By the time of World War II, however, he was again an Expressionist, fascinated with the major existential themes. [76] 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. [93] 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. [56] However, having decided to focus on his other projects, Janco nearly abandoned his studies, and failed his final exam. In the 1910s, he co-edited, with Ion Vinea and Tristan Tzara, the Romanian art magazine Simbolul. His portraits of the writers included, drawn in sharply modernist style, were received with amusement by the traditionalist public. [149] 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. [6][153] At Budeni, he and Costin hosted Betar paramilitaries, who were attempting to organize a Jewish self-defense movement. Iancu and Tzara would ignore (or banter) each other for the rest of their lives". 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. The couple had a girl, Deborah Theodora ("Dadi" for short). (lot of 3) Marcel Janco (Israeli, 1895-1984), Images of City Life, woodcuts on Japon paper, each pencil signed lower ... Sold for $500 on Jun 15, 2014 1926), and was raised a Catholic. "[6] As he recalled, these works were not well received in the post-war Zionist 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. Word on the Street. It was here that he notably published articles on architectural styles and a lampoon, in French and German, titled T.S.F. [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. [124][128], Janco attended the 1930 reunion organized by Contimporanul in honor of the visiting Futurist Filippo Tommaso Marinetti, and gave a welcoming speech. 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. "[6] 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. [103] Janco was also called upon by authors Ion Pillat and Perpessicius to illustrate their Antologia poeților de azi ("The Anthology of Present-Day Poets"). [118] Many of the Bucharest villas he had designed, which had Jewish landlords, were also taken over forcefully by the authorities. [42] 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. The overall geometric feel of the building, organized along lines, squares and rectangles, indicates the influence of both Cubism and Constructivism on his architecture. [179] Janco has also been described as "disinterested" in the fate of his Arab neighbors. The building was damaged by the 2010 forest fire, but reopened and grew to include a permanent exhibit of Janco's art. Compared with mainstream functionalist architects like Horia Creangă, Duiliu Marcu or Jean Monda,[108] 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. [57], 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, Otto Morach. [156], His individual contributions received further praise from his peers and his public: in 1958, he was honored with the Histadrut union's prize. [...] I was of a sensitive and emotional nature, a withdrawn child who was predisposed to dreaming and meditating. 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. [100], 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. [124] In addition, Janco was dedicated a poem by Belgian artist Émile Malespine, and is mentioned in one of Marinetti's poetic texts about the 1930 visit to Romania,[239] as well as in the verse of neo-Dadaist Valery Oisteanu. (Bucarest 1895–1984 Tel Aviv) Cavernes, 1948, signed, titled and dated 1948 on the reverse, oil on cardboard on panel, 48 x 68 cm, framed Provenance: Galleria Pagani, Milan European Private Collection Exhibited: Milan, Marcel Janco, Galleria PaganiCastellanza (Va), Museo Pagani 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." [168], 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. [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. [232] This was an older idea, as first illustrated by his 1925 attempt to create an "alphabet of shapes", the basis for any abstractionist composition. Reunited with Vinea, he founded Contimporanul, the influential tribune of the Romanian avant-garde, advocating a mix of Constructivism, Futurism and Cubism. [153] Having attended the 1966 Venice Biennale,[176] he won the Israel Prize of 1967, in recognition of his work as painter. His brother-in-law and fellow Constructivist promoter was the writer Jacques G. Costin, known as a survivor of 1940s antisemitism. [68] He was also announced, with Tzara, as a contributor to the post-Dada magazine L'Esprit Nouveau, published by Paul Dermée. [218], Soon after his first visit to Palestine and his Zionist conversion, Janco began painting landscapes in optimistic tones, including a general view over Tiberias[175] and bucolic watercolors. [234] He later worked on the Imaginary Animals cycle of paintings, inspired by the short stories of Urmuz. [191], His assimilation of Expressionism has led scholar John Willett to discuss Dadaism as visually an Expressionist sub-current,[192] 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". [136] 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. [71] 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, [Janco and others] nuance it with their own formulas, away from the abstract utopias of the International Style. [126] His drawings were used in illustrating two volumes of interviews with writers, compiled by Contimporanul sympathizer Felix Aderca,[127] and Costin's only volume of prose, the 1931 Exerciții pentru mâna dreaptă ("Right-handed Exercises"). See all articles. [165] 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. [166], 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. [167], For a second time, Janco reunited with Costin when the latter fled Communist Romania. Leonardo Da Vinci. Related Categories. "[211] 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". [194] His other studies, in collage and relief, have been described by reviewers as "a personal synthesis which is identifiable as his own to this day",[195] and ranked among "the most courageous and original experiments in abstract art. [219] However, his parallel work in costume design evidenced a toning down of avant-garde tendencies (to the displeasure of his colleagues at Integral magazine), and a growing preoccupation with commedia dell'arte. [75] Indebted to Le Corbusier's New Architecture,[227] Janco theorized that Bucharest had the "luck" of not yet being systematized or built-up, and that it could be easily turned into a garden city, without ever repeating the West's "chain of mistakes". [...] it is content with imports, copies, nuances or pure and simple stagnation. Janco had joined a group of artists at the Cafe Voltaire in Zurich, Switzerland in 1916 and was among the principal founders of the Dada Movement.

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