Malowidła ścienne z Drohobycza

Abstrakt

The topic of the essay is the postwar history of the lost Schulz’s “frescoes” in Drohobych. Schulz painted them under pressure of the Nazi terror, scared to death. Afer the war their history included sudden turns and episodes suggestive of detective stories, with the agents of the Israeli Mossad as protagonists. The author purposefully does not discuss the rights of states that claim them as their property since the controversy is not over yet. Most likely it is a knotty political problem, about which one should rather keep silent, and a complicated legal case. Still, it is good that the case will soon be closed peacefully, while the paintings are already accessible to the public.