From mid 1913, Iovanaki was a columnist and left- leaning lampoonist at N. D. Cocea's Facla and Rampa, working under a variety of pen names: "Ion Iovin", "Evin", "Ion Japcă", "Ion Eugen Vinea", "Crișan", "I. Iova", and, possibly, also "Stavri" or "Puck".Funeriu, pp. 7–8. See also Cernat (2007), pp. 15, 61–71, 92–93, 142, 147 Constantin Beldie took him on board at Noua Revistă Română.
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By merging the advertising technique with the aesthetics of graffiti, the artist dilutes the boundaries between the languages and brings both to a single focus of discussion. It is not a matter of appropriation but of dilution, of juxtaposition for the creation of a new repertoire. The works of the LampoonistAlexandre Orion, , Lampoonist series are a hybrid between marginal and official, between informal and institutional. They create a luminous bridge for the shadowy writing of the streets and, without any concession, reveal the beauty of this transgressive aesthetic.
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His contribution as an essayist, lampoonist, and aphorist reflected his progressive approach to labor and productive life, his critique of conservatism, as well as his concept of civilized political mores. Banu's career in politics reached the international level during World War I, when he took refuge from German-occupied Romania to campaign for the Romanian cause in Paris. Subsequently, during his term as minister, he focused on negotiating a Romanian Concordat and normalizing relations with the Catholic Church. In his final years in politics, he was an affiliate of the National Liberal Party- Brătianu.
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In March of that year, Seara was also joined by a most fervent contributor, the poet and lampoonist Arghezi. Although supporting the Conservative Party before and after that moment, Seara was focusing its efforts on attacking the Conservative-Democratic Party of Take Ionescu, with whom the Conservative Premier Titu Maiorescu had formed a coalition (one resented by Cantacuzino and Bogdan-Pitești). In this context, critic Ion Vianu notes, Seara became "an aggressive publication, with a history of base attacks and blackmail." The anti-Ionescu discourse was notably outlined in an Arghezi article of September 11, 1913.
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One local lampoonist versified: "Arrived at the church, 'tis diverting to see Them all strut to Ned Kendall's [the organist's] vile twiddle dum dee, whose bass and whose treble, comparatively speaking, are like old pigs grunting and little pigs squeaking." After 95 years service with little maintenance, the organ was dismantled and sold and a contract for a new instrument was placed with London organ builder Hugh Russell in 1798. The new organ had fifteen stops and a swell manual enclosed in a box with 'Nag Head' shutters (a recent innovation of the time) and also a short compassed pedal department. In 1881, the second organ was in a bad state of repair and was sold and replaced by a three manual pipe organ built by Hele and Co. of Plymouth.
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Henri H. Stahl, "Capitolul IX. Curentele antigheriste", in Gânditori şi curente de istorie socială românească, e-book version at the University of Bucharest Faculty of Sociology; retrieved March 10, 2012 Sanielevici's public profile and eccentricity created irritation and even scandal in his day, as summarized by writer and scholar Antonio Patraş: "[he was remembered as] an eccentric figure, a lampoonist with diverse preoccupations [...], sometimes perceived as an intelligent and cultured critic, but overall an autodidact with the exorbitant pretensions of an uomo universale and the insufferable airs of a decadent cleric, with a holier-than- thou attitude." Antonio Patraş, "Prinţul Henric între uitare şi reabilitare", in Ziarul Financiar, June 26, 2009 While describing himself as the leading cultural factor of the nation, "one of the greatest creators ever produced by mankind", Sanielevici noted that he was struggling against "lightning and hailstorm" launched by his envious peers. Moreover, he claimed, "there almost isn't one publicist, literato, politician" to have refrained from plagiarizing his ideas. In his profile of Sanielevici, Eugen Lovinescu mentions a "lampoonist's deformation and stylistic violence", "lucidity in expression" and many other talents, as well as a "noble", but misguided and distorted, passion for turning "crude material" into science.
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