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Toward an Iconography of Tristan Tzara

Two portraits of Tristan Tzara (1896-1963) acquired in recent years by The Detroit Institute of Arts and another Tzara portrait in the WinstonMalbin collection, acquired while Lydia Winston Malbin was living in Detroit, are part of a rich mine of material which exists concerning Tzara's activity, not only as a chief catalyst of the Mouvement Dada and a Surrealist poet, but also as an art critic, editor, collector, and social activist.1