was notably played by David Westhead in the 1993 British production, and by Tom Hewitt in the 2005 American version. Alongside his collaborations with Dada artists on various pieces, Tzara himself was a subject for visual artists. Max Ernst depicts him as the only mobile character in the Dadaists' group portrait Au Rendez-vous des Amis ("A Friends' Reunion", 1922), while, in one of Man Ray's photographs, he is shown kneeling to kiss the hand of an androgynous Nancy Cunard. Years before their split, Francis Picabia used Tzara's calligraphed name in Moléculaire ("Molecular"), a composition printed on the cover of 391. The same artist also completed his schematic portrait, which showed a series of circles connected by two perpendicular arrows. In 1949, Swiss artist Alberto Giacometti made Tzara the subject of one of his first experiments with lithography. Portraits of Tzara were also made by Greta Knutson, Robert Delaunay, and the Cubist painters M. H. Maxy and Lajos Tihanyi. As an homage to Tzara the performer, art rocker David Bowie adopted his accessories and mannerisms during a number of public appearances. In 1996, he was depicted on a series of Romanian stamps, and, the same year, a concrete and steel monument dedicated to the writer was erected in Moinești. Several of Tzara's Dadaist editions had illustrations by Picabia, Janco and Hans Arp. In its 1925 edition, Handkerchief of Clouds featured etchings by Juan Gris, while his late writings Parler seul, Le Signe de vie, De mémoire d'homme, Le Temps naissant, and Le Fruit permis were illustrated with works by, respectively, Joan Miró, Henri Matisse, Pablo Picasso, Nejad Devrim and Sonia Delaunay. Tzara was the subject of a 1949 eponymous documentary film directed by Danish filmmaker Jørgen Roos, and footage of him featured prominently in the 1953 production Les statues meurent aussi ("Statues Also Die"), jointly directed by Chris Marker and Alain Resnais. Posthumous controversies The many polemics which surrounded Tzara in his lifetime left traces after his death, and determine contemporary perceptions of his work. The controversy regarding Tzara's role as a founder of Dada extended into several milieus, and continued long after the writer died. Richter, who discusses the lengthy conflict between Huelsenbeck and Tzara over the issue of Dada foundation, speaks of the movement as being torn apart by "petty jealousies". In Romania, similar debates often involved the supposed founding role of Urmuz, who wrote his avant-garde texts before