Carlos Bleck, sportowiec i pierwszy portugalski lotnik cywilny

 Carlos Bleck, sportowiec i pierwszy portugalski lotnik cywilny

W 1938 roku Portugalia wydała serię znaczków pocztowych dla swoich kolonii, upamiętniających historię Portugalskiego Imperium Kolonialnego. Znaczki te zostały wydane dla takich terytoriów jak Gwinea, Wyspy Świętego Tomasza i Książęca (w 1939 roku z napisem "São Tomé e Príncipe"), Angola, Mozambik, Indie Portugalskie, Timor i Makau. Przedstawiały one postacie i symbole kluczowe dla portugalskiej historii kolonialnej, w tym:

·        Vasco da Gamę[1],

• Mousinho de Albuquerque (oficer kawalerii, gubernator generalny Mozambiku),
• Afonso de Albuquerque (portugalski żeglarz, odkrywca i zdobywca, wicekról Indii),
• tamy (jako ilustracja rozwoju kolonii),
• Infanta Henryka Żeglarza (uważanego za założyciela portugalskiego imperium kolonialnego).

W tym samym roku Portugalia rozszerzyła serię znaczków "Império Colonial Português" o znaczki lotnicze dla Wysp Świętego Tomasza i Książęcej. Te znaczki lotnicze miały podobne wzory do standardowych wydań, ale były dostosowane do usług poczty lotniczej, często przedstawiając motywy związane z lotnictwem i tematyką kolonialną.

 

Głównymi elementami znaczków lotniczych są:

1. Glob ziemski: Znaczek pokazuje kulę ziemską w kontekście globalnym, podkreślając znaczenie portugalskich kolonii.
2. Samolot: Obecność samolotu symbolizuje ówczesny rozwój technologii, a także komunikację między metropolią a koloniami.

             

W latach 1920–1935 portugalscy lotnicy dokonali serii pionierskich lotów, które znacząco przyczyniły się do rozwoju światowego lotnictwa i zostały podane na panelu bocznym znaczków lotniczych:

- 1920: Lot na Maderę wykonany przez Paesa i Beiresa.

- 1922: Pierwsze przelot nad południowym Atlantykiem dokonany przez Cabrala i Coutinho.

- 1923: Wyprawa do Angoli z udziałem Almeidy, Cunhy i C. Silvy.

- 1924: Lot do Makau przeprowadzony przez Paesa i Beiresa.

- 1925: Misja do Gwinei z udziałem Correii i S. Silvy.

- 1928: Lot do Mozambiku wykonany przez Ramosa, Viegasa i Estevesa.

- 1930: Wyprawa do Indii z udziałem Cardoso i Pimentela.

- 1931: Lot do Angoli przeprowadzony przez Blecka i Cruza.

- 1934: Wyprawa do Timoru z udziałem Cruza.

- 1935: "Cruzeiro" z udziałem Cunhy, Cardoso i Baltazara.

Te przedsięwzięcia nie tylko umocniły portugalską obecność na arenie międzynarodowej, ale także przyczyniły się do postępu w nawigacji lotniczej i technologii lotniczej.

Moje szczególne zainteresowanie na tych znaczkach zwrócił  rok 1931 -  Lot do Angoli przeprowadzony przez Blecka i Cruza. Kim był ów Bleck ?

W książce “O Aviador” („Lotnik”) José Correia Guedes opowiada nam historię Carlosa Blecka, zapomnianego bohatera portugalskiego lotnictwa. Bleck był pierwszym Portugalczykiem posiadającym certyfikat pilota cywilnego.

 

5 marca 1934 roku do Goa przybył najbardziej oczekiwany gość, pochodzący z Lizbony. Carlos Bleck na pokładzie małego, pojedynczego silnika leciał na pas startowy po ponad 50 godzinach lotu. Powitał go euforyczny tłum: po raz pierwszy w historii lotnik wykonał przelot pomiędzy Portugalią a Indiami, co było niezwykłym wyczynem lotniczym.

 

 

Potomek rodziny żydowskiej z Polski, której diaspora osiedliła się w Portugalii, pilot dorastał z gorączką szybkości. Zanim zajął się swoją największą pasją, czyli lataniem, był kierowcą samochodowym i żeglarzem olimpijskim[2].

Bleck, pierwszy Portugalczyk posiadający uprawnienia pilota cywilnego, wyróżnił się także jako biznesmen, zakładając firmę lotniczą CTA, co poprzedziło TAP. Uwieczniła go jednak podróż samolotem.

Oprócz podróży do Indii wykonał pierwsze połączenie lotnicze z Lizbony do Angoli i Lizbony. Przemierzał morza i pustynie, stawił czoła burzom piaskowym, tropikalnym burzom i ogniowi wroga.

Historia jednak ostatecznie go zignorowała. Jeszcze w trakcie Estado Novo uległ szokującemu wypadkowi na pokładzie samolotu Salazar, który zakończył jego pionierskie loty.

Portugalia po 25 kwietnia nie wybaczyła mu tego, że był członkiem Legionu Portugalskiego i gorącym zwolennikiem poprzedniego reżimu. Pozostał przypisem w historii portugalskiego lotnictwa. Aż do dnia, w którym dowódca José Correia Guedes (autor Lotnika) postanowił uratować go od zapomnienia[3].

 Carlos Eduardo BLECK, sportowiec i pilot, urodził się w Dafundo (Oeiras) 22.05.1903, a zmarł w Lizbonie 7.12.1975. Lotnik cywilny. Był synem sportowca Charlesa Henry'ego Blecka (angielski) i Heleny Pedroso dos Santos, urodzonej w Lizbonie. Uprawiał żeglarstwo, żeglarstwo motorowe, jazdę konną, motocykle i wyścigi samochodowe, osiągając czołową pozycję w uprawianych dyscyplinach. W 1922 roku został przyjęty do Wojskowej Szkoły Lotniczej w Sintrze, gdzie uzyskał licencję pilota cywilnego. Z powodów prywatnych ukończył kurs dopiero w lipcu 1925 roku. Pierwszy dyplom pilota cywilnego uzyskał w Portugalii w Szkole Wojskowej.

W wieku 19 lat odbył swój pierwszy lot w Grupie Eskadry Lotniczej Republiki, trwający 15 minut. 21 listopada 1922 roku został przyjęty do Wojskowej Szkoły Lotniczej z zamiarem uzyskania statusu lotnika cywilnego. Jednak ze względów zdrowotnych jego życzenie musiało zostać przełożone. Carlos Bleck był zmuszony porzucić kurs kilka dni po przyjęciu, ale wrócił w 1925 roku, aby uzyskać pierwszy portugalski dyplom lotnictwa cywilnego, zdobyty w Szkole Wojskowej.

Dwa lata później odbył swoją pierwszą podróż (Londyn-Tancos-Lizbona) za kierownicą Moth/Cirrus o mocy 90 koni mechanicznych. W 1923 roku próbował polecieć do Indii, ale problem z silnikiem uniemożliwił mu dotarcie dalej niż na pustynię arabską, do połowy drogi. Nees w tym samym roku próbował przeprawić się przez północny Atlantyk, ale nie otrzymał niezbędnego wsparcia. W 1929 roku podjął kolejną próbę i ponownie się nie powiodła.

 Lata 1930 i 1931 to lata, w których Carlos Bleck wraz z pilotem Humberto da Cruzem wykonał połączenie lotnicze Lizbona-Angola-Lizbona.

W 1930 roku był członkiem Zarządu Aeroclube de Portugal, który założył pierwszą portugalską szkołę lotniczą.

Samotnie odbył lot z Portugalii do Goa w 1934 r. Później został założycielem Companhia de Transportes Aéreos, poprzedniczki TAP, i dołączył do zarządu TAP (Transportadora Aérea Portuguesa).

Za swoje wyczyny otrzymał m.in. odznaczenie Oficerskie z Palmą Orderu Wieży i Miecza.

Carlos Bleck, wydał w 1962 roku książkę „Rumo à Índia” („W stronę Indii”).

Jego nazwiskiem nazwano ulicę w mieście Sintra - R. Aviador Carlos Bleck (ulica Lotnika Carlosa Blecka), 2710-513 Sintra, Portugalia[4].

 

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[1] Znaczek z Vasco da Gama opisałem na swoim blogu „Kolekcjoner” w artykule opublikowanym 27 września 2023 Vasco da Gama – the sea route to India

[2] Carlos Eduardo Bleck był żeglarzem z Portugalii, który reprezentował swój kraj podczas Letnich Igrzysk Olimpijskich w 1928 roku w Amsterdamie, w Holandii. [en.wikipedia]. Drużyna Portugalii zajęła wtedy 12 miejsce [https://www.sports-reference.com/]

[3] Tekst i zdjęcie: Carlos Bleck: O herói esquecido da aviação portuguesa, 9 Nov 2024 [https://www.jornaldosclassicos.com/]

[4] Artykuł Recordamos hoje Carlos Bleck, Desportista e o primeiro Aviador Civil Português, na Toponímia de Sintra [Dziś wspominamy Carlosa Blecka, sportowca i pierwszego portugalskiego lotnika cywilnego, w Toponimii Sintry] opublikowany na blogu  ruascomhistoria.wordpress.com 25.05.2018

 

Gustav and Friedrich Stoltenhoff

Stoltenhoff Island is a small uninhabited island in the South Atlantic Ocean, part of the Nightingale Islands. It is the smallest of the Nightingale Islands, and is to the northwest of Nightingale Island itself. They are governed as part of Tristan da Cunha, an archipelago and part of the British overseas territory of Saint Helena, Ascension and Tristan da Cunha. The island is part of the Nightingale Islands group Important Bird Area (IBA), identified as such by BirdLife International as a breeding site for seabirds and endemic landbirds.

The island is named after the two Moscow-born German brothers, Gustav and Friedrich Stoltenhoff, who tried to settle on nearby Inaccessible Island. Their attempt was abandoned after two difficult years.^[1]

Inaccessible Island, part of the Tristan da Cunha group in the UK, is the exposed peak of an extinct volcano in the South Atlantic Ocean. Covering an area of 12.65 km², it was discovered by the Dutch in 1652, a century and a half after Tristan da Cunha. Its name, "Inaccessible," reflects the challenging and hazardous approach to the island.

In October 1871, two Prussian brothers, Gustav and Friedrich Stoltenhoff, attempted to establish a seal oil production site on the island. At the time, seal oil was in high demand for its use in cosmetics and as a lamp fuel. However, their venture was unsuccessful, and after two years, they were evacuated by the British ship “HMS Challenger”. Stoltenhoff Island, located nearby (closer to Nightingale Island), is named after these two brothers.^[2]

Inaccessible Island, part of the Tristan da Cunha group in the UK, is the exposed peak of an extinct volcano in the South Atlantic Ocean. Covering an area of 12.65 km², it was discovered by the Dutch in 1652, a century and a half after Tristan da Cunha. Its name, "Inaccessible," reflects the challenging and hazardous approach to the island.

In October 1871, two Prussian brothers, Gustav and Friedrich Stoltenhoff, attempted to establish a seal oil production site on the island. At the time, seal oil was in high demand for its use in cosmetics and as a lamp fuel. However, their venture was unsuccessful, and after two years, they were evacuated by the British ship “HMS Challenger”. Stoltenhoff Island, located nearby (closer to Nightingale Island), is named after these two brothers.^[2]

If someone thinks that they will hear the beautiful song of the nightingale on Nightingale Island, they are greatly mistaken.

It was originally named "Gebrooken Eyland" (Broken island) by the Dutch ship the Nachtglas under Jan Jacobszoon in January 1656, who found no safe anchorage; the first landing was not made until 1696 (most likely by Willem de Vlamingh in August of that year). French captain Pierre d'Etcheverry also visited the island in September 1767, first recording the two nearby islets now named Stoltenhoff and Middle. The island was later renamed after British captain Gamaliel Nightingale, who explored the island in 1760.^[3]

The Questionable Rewards of a Visit to Inaccessible Island^[4]

Inaccessible was first sighted in 1656, and the first known landing wasn’t until 1803. But the history of the island gets extremely weird in 1871, when two Moscow-born German brothers, Gustav and Frederick Stoltenhoff, decided to settle on Inaccessible Island and operate a trading business, mostly of seal pelts. Eric Rosenthal describes their misadventures in a 1952 book called Shelter From the Spray. “If ever an island deserved its name, it would seem that Inaccessible did,” writes Rosenthal. “Its vast square summit rose like a wall above the little ship as she tossed about at her moorings off the western side.”

Frederick and Gustav Stoltenhoff[5]

The Stoltenhoffs, fresh out of reluctant service in the Franco-Prussian War, had landed on Tristan once and heard tales of another island, nearby and uninhabited. A Tristanian had told them of a harvest of 1,700 seal pelts on Inaccessible the year before, a treasure trove of money. So the brothers decided out of a sort of Robinson Crusoe-type lust for adventure, as well as valuable seal pelts, to live on Inaccessible Island for awhile.

Their two years on Inaccessible were completely miserable. They had no idea how to build shelter, did not know how to catch or skin a seal, forgot to bring vital supplies like rope and candles, had their fishing boat and house repeatedly destroyed by weather, and, by their accounts, were screwed with by mean Tristanians who came by every few months, stealing their supplies and shooting the wild goats the Stoltenhoffs relied on. (Previous visitors to the island had introduced some domestic goats and pigs, which survived during the time the Stoltenhoffs were there; the animals were completely removed in the 1950s.) The brothers brought a dog and a few puppies; the dogs fled and became feral within a few weeks.

Surviving mostly on penguin eggs and wild boar they described as disgusting (when they could even catch one), the brothers survived, clumsily and improbably, through two full winters. From the book: “‘The penguins are coming ashore!’ Gustav shrieked with delight. ‘If only we can get at them.’ Whether through their own weakness, or the superior instinct of their prey during the first few days, they failed to kill a single bird. Instead they found themselves pecked and once or twice even knocked over by the vigorous antics of their opponents.”

After two years of being physically bested by penguins, having killed only 19 seals (the pelts of which they traded for some biscuits), and every few months refusing to be rescued, the Stoltenhoffs gave up and went home. Having already been named and featured in atlases, Inaccessible couldn’t be named after the Stoltenhoffs, but a tiny rock nearby did not have a name when they were rescued, and was named Stoltenhoff Island, after them. Nobody since the Stoltenhoffs have tried to live for any real length of time on Inaccessible Island.

Tristan da Cunha, which owns Stoltenhoff and other nearby uninhabited islands, is in an unusual situation with regards to coinage as well stamps editing. It is not an autonomous or independent colony, being a part of the British overseas territory with the rather unwieldy name of "Saint Helena, Ascension and Tristan da Cunha", yet the island has permission to strike its own commemorative coinage. Officially, the currency used on the island is the British pound, not the St Helena pound used in the rest of the territory.    

Apparently the Island's administrators believe their mandate to issue coinage extends to issuing coins in the names of the uninhabited islands under its control: Gough Island and Nightingale Island have also had coins issued in their names. It's part of a broader push by certain private mints to appeal to OFEC collectors by making "coins" in the name of places that currently have no coinage of their own.^[6]

 

Inaccessible's north-east coast is 40 kilometres (25 miles) from Longbluff on Tristan's south-west coast. This view is from about 10 kilometres away, showing the sheer cliffs which give the island its forbidding name. Visible straight ahead is Salt Beach, where the German Stoltenhoff brothers attempted to colonise the island between 1871-3. Rev Wilde organised a '5-year' farming project at Salt Beach which failed to live up to its aims and was abandoned after he left Tristan in 1940, but islanders still occasionally visit to pick the apples planted in the 1930s.[7]

About Tristan da Cunha read  here

[1] English Wikipedia [https://en.wikipedia.org/wiki/Stoltenhoff_Island]

[2] French Wikipedia [https://fr.wikipedia.org/wiki/%C3%8Ele_Stoltenhoff]

[3] English Wikipedia [https://en.wikipedia.org/wiki/Nightingale_Island]

[4] Article by  Dan Nosowitz, November 1, 2018 [https://www.atlasobscura.com/]

[5] Picture from article by Anton Diakonov, В мире есть остров с названием Инаксессибл [https://perito.media]

 [6] https://www.coincommunity.com/forum/topic.asp?TOPIC_ID=76791 Posted 12/18/2010  06:5 by Sap.

[7] https://www.tristandc.com/inaccessible.php

Terry Pratchett: The Man Who Brought Wit, Satire, and Magic to Fantasy Literature

 Sir Charles Lavatory, a tradesman of Mollymog Street, Ankh-Morpork. He is the current president of the Guild of Plumbers and Dunnikindivers.

His firm, C.H. Lavatory and Son, manufactures and markets the patented Lavatory device, which is a good idea in principle but hampered by the fact that Ankh-Morpork is yet to (re)discover sewers. His eponymous patented device cleans and flushes beautifully, but in keeping with the general miasma of Ankh-Morpork, not to anywhere in particular. Therefore if the house is nowhere near the Ankh and there isn't a dunnikin nearby nor space to dig one, the whole point is somewhat lost. Still, the Ankhian ethos of "once it's out of the house it's somebody else's problem" lives on. The person whose problem it is almost certainly works for Harry King.

The Lavatory device is fast replacing the earlier model patented by a previous Guild luminary, William de Privy. Perhaps the strangest client for the device was Death. The toilet in the house of Death has a pretty arrangement of green and blue flowers on the cistern. 

When we think of the giants of fantasy literature, a few names inevitably come to mind: J.R.R. Tolkien, C.S. Lewis, and George R.R. Martin. But Sir Terry Pratchett carved a niche that none of these could quite match—a realm that was equally fantastical, but infused with humor, wit, and profound social insight. Through his ‘Discworld’ series, Pratchett not only entertained millions but also made readers see the absurdities and beauty of their own world reflected in his fantastical one. Let's dive into the life and legacy of the man who dared to make fantasy laugh at itself.

 - Early Life and Writing Journey

Born in 1948 in Beaconsfield, Buckinghamshire, England, Terry Pratchett was an only child who showed an early love for reading and writing. His love for literature led him to work as a journalist by the age of 17. His first published novel, ‘The Carpet People’, came in 1971, a children’s fantasy that he would later rewrite and republish to fit his evolved style. But it was in the 1980s that Pratchett found his calling: the ‘Discworld’ series.

 - Enter ‘Discworld’: A Round World on the Back of a Giant Turtle

Pratchett’s most famous creation, ‘Discworld’, began in 1983 with ‘The Colour of Magic’. The premise was simple but brilliantly absurd—a flat world held up by four giant elephants who, in turn, stand on the back of a giant turtle floating through space. From there, the ‘Discworld’ series grew into a sprawling collection of 41 novels, each filled with hilariously flawed characters, outrageous plots, and clever commentary on real-world issues.

At first, ‘Discworld’ began as a parody of traditional fantasy. Wizards, witches, heroes, and gods all made appearances, but in ways no one expected. Rincewind, the cowardly wizard, is a terrible student at Unseen University with only one spell in his mind and a knack for running away. The Witches—Granny Weatherwax, Nanny Ogg, and Magrat Garlick—reveal that being magical is as much about pragmatism as it is about power. Sam Vimes, head of the City Watch, begins as a down-on-his-luck alcoholic but becomes a moral compass for the city of Ankh-Morpork, where he faces crime and corruption with a reluctant but deep-rooted sense of justice.

- Humor with Depth: Why Pratchett's Style Resonates

Pratchett had an extraordinary gift for blending humor with insight. Through his comical prose, he explored topics ranging from religion and death to politics and technology. His books were not merely humorous fantasy; they were deeply satirical, often poking fun at human nature and societal structures. Take, for instance, ‘Small Gods’, where he critiques organized religion by following the journey of a god who’s lost his believers. Or ‘Guards! Guards!’, which examines justice and the role of law enforcement in a society that’s built on layers of corruption.

His humor was distinctly British, often using irony and understatement, but it appealed to readers worldwide because it was so fundamentally human. Pratchett had a way of making readers laugh and think simultaneously, a skill few writers ever master.

 - Building a Rich World with Beloved Characters

One of Pratchett's greatest strengths was his characters, who felt real and multi-dimensional despite the fantastical setting. His protagonists, such as the bumbling wizard Rincewind, the no-nonsense witch Granny Weatherwax, and the determined Sam Vimes, were deeply flawed, often grumpy, and sometimes downright rude. But they were relatable in a way that fantasy heroes often aren’t—they felt like people you might actually know (or at least hear about) in real life.

Ankh-Morpork, the city where many of his stories take place, became one of the most famous fictional cities in literature. It was a chaotic, multicultural, crime-ridden city with bizarre laws and an even more bizarre police force. Yet Pratchett wrote it with such affection that readers couldn’t help but love it. Through ‘Discworld’, he created a universe as diverse and contradictory as our own.

 - Legacy and Influence

Terry Pratchett’s impact on literature cannot be overstated. He changed what people expected from fantasy, showing that the genre could be funny, insightful, and critical. His unique take on fantasy inspired many writers who wanted to break away from traditional tropes and bring humor into speculative fiction.

In 2007, Pratchett was diagnosed with early-onset Alzheimer’s disease, specifically a rare form called posterior cortical atrophy. Despite this, he continued to write, using voice recognition software to dictate his stories as his condition progressed. Pratchett’s diagnosis brought him into the public eye as an advocate for Alzheimer's awareness and research, even contributing to documentaries about living with the disease.

When he passed away in 2015, the world mourned the loss of a true literary icon. Fans celebrated his life by raising awareness for Alzheimer's research, creating fan works, and even posting ‘GNU Terry Pratchett’ online—a reference to the Discworld concept of keeping someone’s name alive forever in the “clacks,” a system of telegraph-like communication.

- Why We Still Love Terry Pratchett

 

Terry Pratchett’s work continues to resonate because it goes beyond escapism. He didn’t just create a fantasy world; he created a mirror that reflected the best and worst of our own. Through humor, he encouraged readers to look at themselves and their societies with a critical, yet forgiving eye. His books taught us that while the world may be ridiculous and frustrating, it’s also worth laughing at—and worth fighting for.

For readers discovering Pratchett today, the humor and insights remain as relevant as ever. And for longtime fans, returning to ‘Discworld’ feels like visiting an old friend who still has plenty of stories to share. Sir Terry Pratchett left us with a treasure trove of wisdom and laughter, and for that, we are eternally grateful.

- Where to Start with Pratchett?

If you’re new to Terry Pratchett, ‘Discworld’ can seem overwhelming due to its sheer volume. Here are a few great starting points based on your interests:

- „If you enjoy police procedurals”: ‘Guards! Guards!’ (The first book in the City Watch subseries)

- „If you’re into witchcraft and folklore”: ‘Wyrd Sisters’ (A good entry into the Witches subseries)

- „For social satire with religious themes”: ‘Small Gods’

- „If you want a taste of Pratchett’s take on academia and magic”: ‘The Colour of Magic’ or ‘Equal Rites’

- Final Thoughts

Terry Pratchett’s ‘Discworld’ series is not just a collection of books; it’s a cultural touchstone. In an age where fantasy often leans towards the dark and gritty, Pratchett reminds us that humor, warmth, and humanity have a place in fantasy too. His writing is timeless, bridging gaps between genres and readers of all kinds. If you haven’t yet explored the wonders of Ankh-Morpork or traveled alongside Granny Weatherwax, now is the perfect time to dive in. You may just find that you come back seeing your own world a little differently—and with a lot more laughter.

Georg Hilz

 

Georg Hilz - From Bavaria to Galicia

©Andrzej Philips

 

While searching for items related to Galicia, I came across a watercolor painting titled "Sunday Chat, Dristyow Galicia" dated 15.10.1916, which now corresponds to Poland, Ukraine, and Slovakia. The artist was identified as G. Pilz.

 

The painting Sunday Chat, Dristyow Galicia

Attempts to identify the location "Dristyow" or the painter "G. Pilz" (literally meaning "mushroom") were unsuccessful. A closer inspection of the signature on the painting convinced me that it was actually "G. Hilz." This led to finding information about the artist Sepp Hilz.

 Sepp Hilz (1906-1967)

 Sepp Hilz was a renowned German painter. He learned to paint from his father, Georg Hilz, who was also a painter and restorer primarily working for Bavarian churches. Over time, Sepp began assisting and collaborating with his father. He also benefited greatly from copying works of old masters like Dürer, Cranach, and Altdorfer. From 1921 to 1927, Sepp Hilz lived in Munich, studying at the Kunstgewerbeschule while privately studying graphic art under Moritz Heymann and painting under Xaver Dietrich. He further honed his skills by making numerous copies of paintings by Rembrandt, Vermeer van Delft, and Brouwer. During this period, he started exhibiting his works regionally and working for Bavarian churches.

 

Self-portrait of Sepp Hilz

     

 "Old Peasant Woman with Headscarf" (Study for the painting "Old Woman with Headscarf," which brought Hilz his first success at the exhibition at the Haus der Deutschen Kunst in Munich in 1938)[1].

 In 1928, he returned to his hometown of Bad Aibling, where he organized exhibitions and cultural events with other young painters. His works from after 1930 show influences of Wilhelm Leibl's art. He soon gained recognition as an excellent portraitist, religious painter, landscape artist, and primarily a genre painter depicting rural Bavarian life, earning the nickname "the peasant painter" (Bauernmaler).

From 1938 to 1944, Sepp Hilz participated in the propaganda Great German Art Exhibitions at the Haus der Deutschen Kunst in Munich, showcasing 22 works, including portraits, nudes, and genre scenes, such as the iconic "Peasant Venus," "Vanity," and the triptych "Peasant Trilogy." These works were well-received and approved by Nazi authorities; Joseph Goebbels bought one, and Adolf Hitler purchased two others. However, this success had later repercussions. After the war, Hilz was boycotted. For instance, his participation in a 1951 exhibition in Munich met with protests. Only a few years later did his undeniable talent overcome these objections, and from 1956, his paintings returned to exhibition halls, allowing him to work again as a painter and restorer of church paintings. Today, Hilz's works are primarily in private collections, with many having reached the United States post-war. There are few of his works in German museum collections, with a few pieces in the museum in Bad Aibling. Hilz's art continues to attract interest, with a significant exhibition held in 1995 on Frauenchiemsee Island (Lake Chiemsee in Bavaria)[2].

However, the painting dated 15.10.1916 could not have been by Sepp Hilz, and the "G. Hilz" signature aligns perfectly with that of his father, Georg Hilz. It turns out that Sepp's father, Georg Hilz, was also a well-known artist.

 

Georg Hilz (1881-1949)

 

Georg Hilz was a prominent church painter from Aibling whose works significantly contributed to the artistic heritage of several churches in Bavaria. His most notable work includes the renovation of the pilgrimage church of the Holy Cross in Thann in 1936. During this renovation, Hilz created a fresco on the flat ceiling of the nave depicting the Battle of the Milvian Bridge in Rome[3], a significant historical event where Emperor Constantine defeated Maxentius. He also painted the altarpieces of the side altars which portray Saint Conrad and Saint Elizabeth[4],[5].

 

Georg Hilz's painting "Sunday Chat, Dristyow Galicia”, likely created during the German-Russian campaign in 1916 in the locality of Dryszczów (now Nadrichne, Ternopil district, Ukraine)[6], adds significant historical context to the artistic legacy of both Georg and his son, Sepp Hilz.

 

The altarpieces of the side altars, which depict St. Brother Konrad and St. Elisabeth, were created by the Aiblinger church painter Georg Hilz on the occasion of the renovation in 1936.[7]

 

Georg Hilz's Contributions:

- Thann Church Fresco: One of his most notable works is the fresco on the flat ceiling of the nave of the pilgrimage church of the Holy Cross in Thann, depicting the Battle of the Milvian Bridge. This work, created during the 1936 renovation, highlights his ability to blend historical themes with religious art.

- Altarpieces: He also painted the altarpieces of the side altars in Thann Church, depicting Saint Conrad and Saint Elizabeth, further showcasing his skill in religious painting.

 

Style and Legacy:

- Artistic Style: Georg Hilz is known for his detailed and expressive style that vividly brings religious scenes to life, contributing significantly to the spiritual ambiance of the churches he worked on.

- Blending Old and New: His work in Thann is particularly noted for blending old and new artistic elements, preserving the historical integrity of the site while enhancing its visual appeal for contemporary worshippers.

 

Georg Hilz - Village Street with Telephone Poles Leading to Willing near Bad Aibling[8]

 

 

Genealogy of Georg Hilz[9]:

- Birth: April 7, 1881, Mauern bei Moosburg, Freising, Upper Bavaria, Germany

- Death: April 25, 1949, Mauern bei Moosburg, Freising, Upper Bavaria, Germany

- Parents:

  - Father: Laurentius Hilz (1850 - 1914)

  - Mother: Agatha Lohmaier (1850 - unknown)

- Siblings:

  - Maria Hilz (1882 - 1882)

  - Andreas Hilz (1883 - 1883)

  - Lorenz Hilz (1886 - 1918)

  - Franz Xaver Hilz (1887 - 1887)

  - Josef Hilz (1898 - 1898)

 

- Family:

  - Wife: Maria Deckinger (1870 - unknown)

  - Son: Josef Georg Franz "Sepp" Hilz (1906 - 1967)

 

Conclusion:

Georg Hilz's work, characterized by its detailed and expressive style, remains influential, with significant contributions to Bavarian church art. His legacy, continued by his son Sepp Hilz, highlights the importance of preserving cultural and historical elements through art.

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[1] https://www.gailerfineartchiemsee.de/

[2] https://www.agraart.pl/

[3] The Battle of the Milvian Bridge took place between the Roman Emperors Constantine I and Maxentius on 28 October 312 AD. It takes its name from the Milvian Bridge, an important route over the Tiber. Constantine won the battle and started on the path that led him to end the Tetrarchy and become the sole ruler of the Roman Empire. Maxentius drowned in the Tiber during the battle; his body was later taken from the river and decapitated, and his head was paraded through the streets of Rome on the day following the battle before being taken to Africa. The Milvian Bridge is a bridge over the Tiber in northern Rome, Italy. It was an economically and strategically important bridge in the era of the Roman Empire.

[4] Heimat am Inn, gegruendet von Anton Demp, Rosenheim 1951

[5] https://www.erzbistum-muenchen.de/pfarrei/stadtkirche-bad-aibling/cont/61646

[6] It is unlikely that this is Dryszczów (now Podlisne, Chortkiv district, Ukraine).

[7] https://www.erzbistum-muenchen.de/pfarrei/stadtkirche-bad-aibling/cont/61646

[8] Picture public domain, https://artvee.com/

[9] http://www.genealogie-oberbayern.de