As noted by the queen, Kalinderu's "vain, self-satisfied appearance" became "a tireless temptation for caricaturists".
During the nine years in which their activity overlapped, the magazine Furnica made him a buffoonish stock character in prose, poetry, and cartoons.
Furnica's George Ranetti also circulated serious charges against Kalinderu, accusing him of having run over a child with his car, and implying that he had used his connections to avoid prosecution.
During the peasants' revolt, Furnica published a cartoon showing Kalinderu as a personification of Cajolery, interposing himself between Carol and The Truth (personified by a tenant farmer); issues of that period were confiscated by the Ministry of Internal Affairs.
Reportedly, Kalinderu himself was generally aware of the mockery, but pretended to be "inviolable", and even incited Ranetti by riding his horse to his office.
However, Furnica gleefully reported, he lost his temper with the painter Ion Theodorescu-Sion, who had contributed a set of cartoons to the campaign.
According to the magazine, this incident showed his limitations as an art patron.

Among Kalinderu's late contributions as a philanthropist was his involvement with the Romanian Red Cross.
From October 1912, he served on its general council, alongside Sturdza, Gheorghe Grigore Cantacuzino, Grigore C. Crăiniceanu, Nicolae Filipescu, and Alexandru Obregia.
He spent the better part of 1913 in conflict with the Conservative government, headed by his old rival Maiorescu.
Against Maiorescu, Kalinderu tried to persuade Carol not to renew the pact tying Romania to the Triple Alliance.
Arguing that it constituted support for a German hegemony, he managed to postpone its ratification.
One of his final gestures was the intervention in favor of a protegé scholar, Orest Tafrali, for whom he obtained a chair at Iași University.
He also made returns to scholarship, publishing in 1912 a commentary on the influence of Byzantine art on Romanian visual culture.
It built on observations made by Gabriel Millet.

Kalinderu died in December 1913, and was buried at Bellu cemetery, Plot 5, next to his father and his brother.
The funeral witnessed speeches by Constantin C. Arion, Constantin Istrati, Basile M. Missir, and Sabba Ștefănescu.
Kalinderu intended to disinherit his relatives and see his name praised after giving lavish donations to royal and academic institutions of culture; however, none of the wills were written in legal form, so that Kalinderu's wealth largely ended up going to his family.
Argetoianu claims that Kalinderu had prepared a will benefiting his favorite institution, but ended up "quarreling with the Academy one year before his death", and failed to clarify his intentions in due time.
The mystery and scandal surrounding Kalinderu's last wish inspired a novella by Nicolae M. Condiescu.
This fictionalizes one theory, according to which Kalinderu ("Conu Enake" in the story) writes down a will donating his fortune to the Academy, then destroys it on a whim.
According to historian Matei Cazacu, the same events are also echoed in Mateiu Caragiale's 1929 novel, Craii de Curtea-Veche.

From 1914, Kalideru's job at the crown domains went to Barbu Știrbey.
A museum bearing Ioan and Nicolae's names, containing their respective art collections, opened the same year.
The first private art museum in the country, it suffered damages during World War I: its Romanian-art section was evacuated during the battle of Bucharest, then confiscated by Bolshevik Russia.
Kalinderu's park at Schitu-Greci was vandalized during the war and, by 1934, had still not been repaired.

Reopened during the interwar with the remainder of its collection, the Kalinderu Museum had Jean Alexandru Steriadi as its last director.
It was eventually closed in 1946, shortly before the inauguration of a Romanian communist regime.
Following the Romanian Revolution of 1989, Kalinderu's work and legacy were revisited: in 2005, a project to reestablish a Kalinderu Museum was being debated.
In January 2014, the centennial of Kalinderu's death was solemnly ma
As noted by the queen, Kalinderu's "vain, self-satisfied appearance" became "a tireless temptation for caricaturists". During the nine years in which their activity overlapped, the magazine Furnica made him a buffoonish stock character in prose, poetry, and cartoons. Furnica's George Ranetti also circulated serious charges against Kalinderu, accusing him of having run over a child with his car, and implying that he had used his connections to avoid prosecution. During the peasants' revolt, Furnica published a cartoon showing Kalinderu as a personification of Cajolery, interposing himself between Carol and The Truth (personified by a tenant farmer); issues of that period were confiscated by the Ministry of Internal Affairs. Reportedly, Kalinderu himself was generally aware of the mockery, but pretended to be "inviolable", and even incited Ranetti by riding his horse to his office. However, Furnica gleefully reported, he lost his temper with the painter Ion Theodorescu-Sion, who had contributed a set of cartoons to the campaign. According to the magazine, this incident showed his limitations as an art patron.
Among Kalinderu's late contributions as a philanthropist was his involvement with the Romanian Red Cross. From October 1912, he served on its general council, alongside Sturdza, Gheorghe Grigore Cantacuzino, Grigore C. Crăiniceanu, Nicolae Filipescu, and Alexandru Obregia. He spent the better part of 1913 in conflict with the Conservative government, headed by his old rival Maiorescu. Against Maiorescu, Kalinderu tried to persuade Carol not to renew the pact tying Romania to the Triple Alliance. Arguing that it constituted support for a German hegemony, he managed to postpone its ratification. One of his final gestures was the intervention in favor of a protegé scholar, Orest Tafrali, for whom he obtained a chair at Iași University. He also made returns to scholarship, publishing in 1912 a commentary on the influence of Byzantine art on Romanian visual culture. It built on observations made by Gabriel Millet.
Kalinderu died in December 1913, and was buried at Bellu cemetery, Plot 5, next to his father and his brother. The funeral witnessed speeches by Constantin C. Arion, Constantin Istrati, Basile M. Missir, and Sabba Ștefănescu. Kalinderu intended to disinherit his relatives and see his name praised after giving lavish donations to royal and academic institutions of culture; however, none of the wills were written in legal form, so that Kalinderu's wealth largely ended up going to his family. Argetoianu claims that Kalinderu had prepared a will benefiting his favorite institution, but ended up "quarreling with the Academy one year before his death", and failed to clarify his intentions in due time. The mystery and scandal surrounding Kalinderu's last wish inspired a novella by Nicolae M. Condiescu. This fictionalizes one theory, according to which Kalinderu ("Conu Enake" in the story) writes down a will donating his fortune to the Academy, then destroys it on a whim. According to historian Matei Cazacu, the same events are also echoed in Mateiu Caragiale's 1929 novel, Craii de Curtea-Veche.
From 1914, Kalideru's job at the crown domains went to Barbu Știrbey. A museum bearing Ioan and Nicolae's names, containing their respective art collections, opened the same year. The first private art museum in the country, it suffered damages during World War I: its Romanian-art section was evacuated during the battle of Bucharest, then confiscated by Bolshevik Russia. Kalinderu's park at Schitu-Greci was vandalized during the war and, by 1934, had still not been repaired.
Reopened during the interwar with the remainder of its collection, the Kalinderu Museum had Jean Alexandru Steriadi as its last director. It was eventually closed in 1946, shortly before the inauguration of a Romanian communist regime. Following the Romanian Revolution of 1989, Kalinderu's work and legacy were revisited: in 2005, a project to reestablish a Kalinderu Museum was being debated. In January 2014, the centennial of Kalinderu's death was solemnly ma
Ioan Kalinderu