Walt Disney

1. Giger's Necronom II references Mickey Mouse
2. Mickey Mouse referenced Necronom IV via Wifredo Lam's "Femme-Cheval" and Ernst Fuchs' "Triumph of the Sphinx" 
3. HR Giger's Vlad Tepes references Cruella de Vil from 101 Dalmatons
4. Giger's Necronom III references Donald Duck?
5. Giger's Necronom III references Disney Elephants?

HR Giger: Mickey Mouse referenced in Wifredo Lam's "Femme-Cheval" which is referenced in Ernst Fuchs' "Triumph of the Sphinx", and Giger references all of them in Necronom IV?

leading from  

HR Giger: Development of Necronom IV (work 303) (1976) by HR Giger from Mickey Mouse and a WW1 U-Boat control room photo via Villemot's Cinzano Zebra poster (1956) via Ernst Fuchs' Triumph of the Sphinx (1966) , Bonbonnière (1969) by Hugo Schuhmacher and Wifredo Lam's Femme-Cheval? 

and 
Wifredo Lam
and 
Walt Disney
and
Ernst Fuchs

a) Mickey in Necronom IV pt1
I had decided that Mickey Mouse appears to be a point of reference for Giger's Necronom II and such cartoon characters have turned up in one form or another in various paintings, I've had to look at Necronom IV and consider that Mickey Mouse was also a point of reference for this one too. 

People have already made illustrations of Mickey Mouse as an Alien or Necronom IV turned into a Mickey Mouse, so it's hard to say that it must be true as a new realisation from one's own mental associations. 

But looking to make a comparison, the buttons on his trousers, become the eyes beneath the Necronom's shoulders but the breasts from Wifredo Lam's Femme-Cheval are also the eyes beneath the Necronom's shoulders , and so is the breast from Triumph Of The Sphinx by Ernst Fuchs.

Walt Disney's Mickey Mouse

b)  Mickey in Necronom IV pt2
Should there be a specific Mickey Mouse illustration to look for? 

I am not sure that there is one but this Micky Mouse serves as a good example even if it's not from the right time.

Mickey Mouse's nose becomes the black eye goggles of the Necronom which could be compared to the Zeta Reticulans eyes from the film "The UFO Incident". 

The pipes hanging in a downward curve from the side of the Necronom's head might in this case be Mickey's smile.

The cheek from the side of Mickey Mouse becomes the oval space which I normally consider to be an eye space beneath the back of the Necronom IV's head, (we also have such a significant oval space in the Wifredo Lam painting) and so left ear becomes the phallic tip at the back of the head and the top ear becomes the head of the baby like skeleton in the tip of the ear. 

Of course nothing has to be necessarily one thing or another, and shapes and forms can be freely displaced. Mickey Mouse has a tendency to outstretch his arms which might give half a clue as to why the Necronom is holding one of his arms out straight.

Wifredo Lam's "Femme-Cheval" (1948)

c) Mickey Mouse in Wifredo Lam's Femme-Cheval
Perhaps I would want to say that Giger had the idea of Mickey Mouse somewhere in the back of the mind, happy to see how he could bastardize the use of the character and wanted to see how it could be incorporated into the painting by being translated through hints of forms in other imagery. 

If we should discover that Wifredo Lam had Mickey Mouse in the back of his when he painted his Femme-Cheval, we might think that would mean the two sets of horns on the heads of his creature would be where Mickey Mouse's ears would be, and perhaps the eyes of Mickey Mouse led to the idea of the horn shapes

Or perhaps we might want to consider the horse head on the left of Wifredo's image as Mickey's left arm and the beard, the three lines along his gloves. Mickey's crotch becomes the inverted little Elegua spirit

Ernst Fuchs' "Triumph of the Sphinx" (1966)

d) Putting Ernst Fuchs' Triumph of the Sphinx in the chain.
Questions about whether Ernst Fuchs' Triumph of the Sphinx falls into this certain lineage after Lam, although it seems certain that Giger absorbed ideas from it into his Necronom IV.

But comparing Lam's and Fuchs' pieces of work here, Fuchs shows only on breast but from a side view, he embellished the inverted Elegua and changed it into two faces merged together.  

It's feet become the lip like formations forming the back of something almost like duck head at the lower left corner of Fuchs' painting.

The main oval space of left of Femme Cheval becomes the upper torso and shoulder of the sphinx, while the spikes on the right head become transformed into wings.

HR Giger's Necronom IV

Cover of White Dwarf magazine, Dec/Jan 1977/ 1978 (1971) by John Blanche references “Wernher Von Braun in Mission Control, Houston; Apollo XI" by (July, 1969) by Franklin McMahon?

Leading from

"Pilot in Cockpit' (work 380) (1978) by HR Giger

and

The White Dwarf magazine

 

a) Cover of White Dwarf magazine, Dec/Jan 1977/ 1978  (1971) by  John Blanche

 

b) “Wernher Von Braun in Mission Control, Houston; Apollo XI" by (July, 1969) by Franklin McMahon?

 

 

c) The back of Wernher's head becomes a furry cape

 

 

d) The front of Wernher's hair becomes a head

e) Wernher's face becomes the mid to lower torso

 

f) His upper mouth becomes a belt decoration while his jaw and tie become the cloth hanging down at the font of the legs

 

 

g) Back of the head of the man on the right becomes the bird

 

 

h) The collar of the man to he right becomes a leg

 

"Pilot in Cockpit' (work 380) (1978) by HR Giger references the cover illustration of White Dwarf #4 Dec/Jan 1977/ 1978 (1971) by John Blanche?

Leading from

"Pilot in Cockpit' (work 380) (1978) by HR Giger

and

The White Dwarf magazine

 

a) The cover illustration of White Dwarf #4 Dec/Jan 1977/ 1978 (1971) by John Blanche?

  

 

 b) Pilot in Cockpit' (work 380) (1978) by HR Giger

 

 

 c) The head would become the head, giving the idea that the Space Jockey character has some sort of armour growing over his face

 

d) The torso would become the torso with perhaps the buckles becoming the pipe like ends of the ribs

 

e) The cape would become the back of the seat

f) The leg would become the pipe

g) The bird would become the telescope viewer

Alice and the flamingo from Lewis Carroll's Alice In Wonderland (Published 1865) by John Tenniel references "Saturn devouring his son" (1819–1823) by Goya?

 

 

leading from

HR Giger: Development of Necronom IV via Goya's "Saturn eating his son" via Alice and the flamingo from Lewis Carroll's Alice In Wonderland (Published 1865) by John Tenniel and the cover of Pink Panther #13?

and 

Franciso Goya's "Saturn eating his son" (1819–1823)

and 

Illustrations for Lewis Carroll's Alice stories by John Tenniel

 

  

 

 

a) Alice and the flamingo from Lewis Carroll's Alice In Wonderland (Published 1865) by John Tenniel

 

 

 

 

 

 

b) References "Saturn devouring his son" (1819–1823) by Franciso Goya? 

 

 

Francisco Goya's "Saturn Devouring His Son"

 

 

 

c) Saturn's mane of hair becomes the flamingo neck and head

 

 

 

 

 

d) The left arm becomes the left side of the skirt

 

 

 

 

e) The legs and rear of the corpse being devoured becomes Alice's legs
 

 

 

f) The almost phallic appendage on the right becomes the hedgehog

HR Giger: Necronom IV references Alice and the flamingo illustration from Lewis Carroll's Alice In Wonderland?

 

leading from

HR Giger: Development of Necronom IV via Goya's "Saturn eating his son" via Alice and the flamingo from Lewis Carroll's Alice In Wonderland (Published 1865) by John Tenniel and the cover of Pink Panther #13? 

and

Illustrations for Lewis Carroll's Alice stories by John Tenniel

 

 

 

 a) Necronom IV (work 303) , acrylic on paper on wood, 150x100cm, 1976

 

b) References Alice and the flamingo from Lewis Carroll's Alice In Wonderland (Published 1865) by John Tenniel (with the idea that it's referenced in Triumph Of The Sphinx by Ernst Fuchs (1966) and "Saturn devouring his son" (1819–1823) by Francisco Goya) ?

 

 

c) The main body of the flamingo becomes the shoulder area

 

d) The long neck of the flamingo becomes the upper back appendage almost linking up with the rear of the head

 

 

e) The skirt becomes the back pipes and the ribcage

f) Another thought might be that while it doesn't tie in with my idea about the layout of the composition, if we flip the Alice and the flamingo illustration around, I might wonder if flamingo head and neck becomes is used for this phallic tail like thing curving up on the right.

 

Arzach and the Space Jockey

leading from 

Jean Giraud/ Moebius

and
Alien: Unlocking the design of the Space Jockey

 

Arzach (Moebius 1987)

a) Moebius' Arzach comic book story was first published in Metal Hurlant from 1975 onwards, and this was the magazine that Ridley Scott began to read on returning from a scouting mission in Dordogne for The Duellists and he became very interested in Moebius' drawings.

b) I began to think about how the way the telescope was supported on Giger's Space Jockey chair in relation to the chasis reminded me of a pterodacytl, and then I began to wonder if it was that aspect was loosely inspired by Arzach sitting one of his giant biomechanic bird Zoch and Noch purchased from the great Charadines who were creators of life.

Alien: Early Ridleygram of derelict ship references Chris Foss' Emperor's Palace for Dune?

leading from

Alien: Evolution of the early Ridleygram for the derelict exterior via the cover of The Pink Panther #22 (Oct 1974) and Chris Foss' Emperor's Palace for Dune

a) Well, it looks as if Ridley took note of this Emperor's Palace and made the shadow into an extension of the vessel with the long neck leading to the distant pod

b) Round holes and circular areas in the mid part of the Emperor palace become the observation window in the side of the main derelict ship pod

c) The lines of statues in the distance become a row of teeth like structures along the top of the neck.

Alien: Evolution of the early Ridleygram for the derelict exterior via the cover of The Pink Panther #22 (Oct 1974) and Chris Foss' Emperor's Palace for Dune

leading from  

Alien: Early Ridleygram for the derelict exterior

a) See: Jodorowsky's Dune: Chris Foss' Emperor's Palace of Dune references cover of The Pink Panther #22

b) See: Early Ridleygram for Alien of the explorers approaching the derelict ship (1978) by Ridley Scott references the cover of The Pink Panther #22 )

 

c) See: Alien: Early Ridleygram of derelict ship for Alien references Emperor's Palace for Dune?

Salvador Dali's "Martian Dali equipped with a double holoelectronic microscope" references cover illustration from André Laurie's "Les exilés de la terre", which makes the latter an ancestor of Giger's Space Jockey design?

 leading from  

Alien : Salvador Dali's "Dali Martian Muni D'un Double Microscope Holoelectronique" 1974

a) The cover of "Les Exilés De La Terre" by Andre Laurie (1880s) and Salvador Dali's "Dali Martian Muni D'un Double Microscope Holoelectronique" (1974).
Many thanks to "Dark Nebula" for pointing out the book cover in relation to Giger's Space Jockey. See: http://www.alien-covenant.com/topic/42669)

It's now my belief that Dali would have taken note of the earlier book cover illustration when drawing his Dali Martian.

b)  On the book cover, where the human's foot touches the rolled up blanket,
Dali transforms this into a sock that's nearly pulled off the Martian's foot.

c) So it's the viewfinder on the telescope that transforms into the Martian's head.

d) One bent leg is visible of the human and one bent leg is visible of the Dali Martian. Part of the latter character's other leg is visible but goes off the side of the picture.

e) Dali takes the three legs of the tripod and separates them and inspired by the presence of parts of the writing transforms them into crutches

Martian Dali equipped with a double holoelectronic microscope (1974)

f) Dali transforms the man's oxygen tank into the Martian's upper torso.

g) Perhaps Dali gave the Martian a tale because of the way the shadow bleeds into the rock behind and Dali thought he could expand the body shape in that direction.

h) There is a skirt like form at the top of the human's telescope and Dali transforms this into a soft banana like form resting on the top of the upper part of Dali's biological equivalent of the telescope (that has been transformed here into a double holoeletronic microscope)

i) Chris Foss took the Dali illustration and transformed it into a closeup of parts of a spaceship, and Giger absorbed elements of the Dali illustration and the Chris Foss into his own Space Jockey design, from Dali, such as the arrangement of the crutch supports, he used for the supports for his Space Jockey's telescope.

j) Looking at the the cover illustration for "Les Exilés De La Terre" by Andre Laurie, one wonders if Giger knew about this too and how it related to the later Dali drawing, and if he included aspects of this drawing in the idea for his own Space Jockey.