Fuseli-esque forms in Giger's
Biomechanical Landscape II (1976)

Leading from

a) On 21st November 2015, I started to look further at Fuseli connections
Perhaps before I have been half making the Fuseli associations with this painting for some time but today a Giger of the mind tells me to take a look at the Fuseli associations with this painting.

Henry Fuseli was a Swiss-born artist who lived from 1741–1825. He was famous for his paintings and drawings of nude figures caught in strained and violent poses suggestive of intense emotion. He also had a penchant for inventing macabre fantasies, such as that in The Nightmare (1781).

Portrait of Henry Fuseli by John Opie

b) Looking for an Oscar Wilde connection
Oscar Wilde in wrote in his biographical essay "Pen, Pencil and Poison," about an art critic who was also a murderer, "With the imitative and realistic tendencies of his day he had no sympathy and he tells us frankly that his great admiration for Fuseli was largely due to the fact that the little Swiss did not consider it necessary that an artist should paint only what he sees. The qualities that he sought for in a picture were composition, beauty and dignity of line, richness of colour, and imaginative power. Upon the other hand, he was not a doctrinaire." It can be speculated that fictional identity of the narrator in the essay represented the personality of Wilde

Biomechanical landscape ii

c) Various comparisons between Fuseli's Nightmare and Giger's Biomechanics II

Fuseli's original Nightmare painting (1781)

d) A later version of the Nightmare (1790-91)

e) The huddle form on the upper left of Giger's painting

detail of huddled form in Giger's Biomechanical Landscape II
f) Fuseli imps in comparison Giger's huddled biomechanoid form?

g) Comparison between the shaft of light with roughly triangular form in comparison to the
triangular parting in the curtains. 
The woman's knee from the Fuseli painting perhaps transformed into the biomechanised roast turkey which perhaps also has incorporated into it the side features of a horse's head 

h) In Giger's painting , where the Fuseli horse's head should be, there are roughly pommel shaped objects that might be said to be in the position of the horse's eyes 

i) The eyes and their equivalent 

j) Comparison between phallic form and jawline like piping in comparison to the arm and a bulbous cushion with a tassel at the side and fabric draped down the end behind her 

k) The fabric draped down the end of the bed forming almost a semi rectangular shape at the bottom
with a shadow inside, and Giger has taken that and turned it into a rectangular opening in the side
of the phallic form

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