Before the author turned to literature, however, he proved himself a successful visual artist (he was self-taught, never having completed the technical studies he embarked on, first in Lviv, then in Vienna). Using the rare printing technique of cliche-verre, he produced, among others, a series of drawings that focused on the subject of sadomasochism, amassed in a portfolio titled Xięga Bałwochwalcza / The Book of Idolatry (c. 1920). Stanisław Ignacy Witkiewicz was one of the first to praise the works from this portfolio, classifying their author as a "demonologist." Most of these consist of grotesque scenes in which women dominate men, the latter consenting to their role of subordinate beings, adoring the women in all possible ways and ultimately raising altars in their praise. In these works, Schulz draws a close link between female sadism and male masochism.
Schulz was one of the first admirers of Witold Gombrowicz's novel Ferdydurke (1938) and produced the illustrations for the first edition of the book, and also created illustrations for an edition of the Hourglass Sanatorium. He left behind several hundred additional drawings created for a variety of purposes and thus ranging widely in nature. Some of these are pencil studies and sketches for etchings or works embodying the themes evident in his prose (the largest collection of these, consisting of more than three hundred items, is in the possession of the Adam Mickiewicz Museum of Literature in Warsaw).
In 1992 UNESCO announced the Year of Bruno Schulz (to commemorate the 100th anniversary of the author's birth and the 50th anniversary of his death). A rediscovered work was presented, titled Spotkanie. Żydowski młodzieniec i dwie kobiety w zaułku miejskim / The Meeting - A Young Jew and Two Women in an Alley (1920). The author often failed to title his works (The Book of Idolatry being an exception). The Meeting is a version of a motif explored often by the artist: the meeting of two worlds, two conflicting spheres of reality personified by women and men. The opposing nature of these two spheres is underlined here through such means as spatial division and differentiation in dress. The painting depicts a young Hassid (side curls, black robe, and a wide-brimmed round hat) who bows, as is often the case in Schulz's images, in an overly humble manner before two equally young women dressed in art deco style. The scene plays out against the buildings of a small town that lie below. The painting shows Schulz to have had an able hand and significant experience as an artist. His skillful rendering of shapes, original use of space, refined choice of colors allows us to speak of him as one of the most interesting painters of the inter-war years. This impression becomes stronger when one notices the artist's apparent sensitivity to recent and new tendencies in art (German Expressionism, Formism, Surrealism), processed and transformed reminiscences of which can be seen in the canvas. The unexpected appearance of The Meeting generated the hope that in favorable circumstances, additional paintings by the artist might one day surface. The work was first presented to the public at the Museum of Literature in Warsaw, during an exhibition titled Ad Memoriam - Bruno Schulz 1892-1942, organized in 1992 to celebrate the 100th anniversary of Schulz's birth and the 50th anniversary of his death. A two-volume catalogue published on the occasion contains the most comprehensive available information on the creative output of the author of The Street of Crocodiles.
The clarity and originality of the world presented by Schulz - be it in his prose or in his art - has generated enduring interest in his oeuvre, interest that continues to grow and has expanded to encompass his biography. The latter has in itself proven to be intriguing and was reconstructed many years ago by Jerzy Ficowski based on the memories of family members and those who knew Schulz. It remains full of mysteries, however. To this day, for example, it remains unknown whether the author ever wrote a novel titled Mesjasz / The Messiah, which he mentions multiple times in his letters. No traces of this have yet been found.
Controversy
The year 2001 brought the resolution of another mystery: a series of murals painted by Schulz just before his tragic death (on November 19, 1942, the writer and artist was shot in the street of Drohobych by a member of the Gestapo) in "Landau's Villa" in Drohobych. The frescoes considered destroyed fifty years earlier were discovered (and photographed) by German filmmaker Benjamin Geissler. Unfortunately, the discovery was partly destroyed when representatives of the Yad Vashem Institute in Israel secretly removed significant fragments of the murals and transported them outside of Ukraine. The pieces that remained were transferred to the Drohobychina Museum in Drohobych and were presented for the first time in Poland in 2003 as part of an exhibition titled Republika marzeń / Republic of Dreams. Organized by the Gdańsk-based "Kontakt" Agency and the Museum of Literature in Warsaw; the exhibit toured Warsaw, Wrocław and Gdansk.
The international dispute that ensued reminded people around the world of Schulz's links with Drohobych. This city now owes the author its status as a "magical place" that - like Dublin, Prague or Trieste - is recorded forever in the pages of world literary masterpieces. Interest in Schulz's output has gown with the advent of subsequent anniversaries in 2002: namely, the 110th anniversary of the artist's birth and the 60th anniversary of his passing. A series of new publications appeared on this occasion, including new editions of Jerzy Ficowski's Ksiega Listów / The Book of Letters and Regiony wielkiej herezji i okolice / Regions of Great Heresy and Their Surroundings, and the first-ever edition of the vast Słownik wiedzy o Brunonie Schulzu / Dictionary of Knowledge about Bruno Schulz.
Author: Małgorzata Kitowska-Łysiak, Art History Institute of the Catholic University of Lublin, Faculty of Art Theory and the History of Artistic Doctrines, January 2003
