Delville's "Treasures of Satan" and Descendants, Part 2

leading from

a) Giger picks up the threads
In 1970s, Giger starts to pick up the most significant threads of the paintings that in some way lead from Jean Delville's Treasures of Satan and pull them together for his compositions and others inspired by his work find themselves doing so too.

Assuan (1972)

b) Assuan (1972)
Giger's Assuan reveals itself to be partially inspired by Picasso's Guernica and he would revisit this decade later with Anima Mia. The central figure appears to be inspired by Australian rock art, that seems interesting when thinking about Treasures of Satan's possible connection with the Zigzag Devil petroglyph at the Bradshaw Caves

See also: Assuan (1972)



Necronom IIIa
c) Necronom IIIa (1976)
Giger's Necronom III that appears to be generally a humanoid in an elephantine Lancaster Bomber gunner pod would evolve into a painting that echoed the idea of a diving bell and referenced Max Ernst's Celebes

See also:  Necronom III and_Necronom IIIa




Necronom IX (1976) 



d) Necronom IX (1976)
Giger's Necronom IX appears to reference Dali's  Dali's "Daddy Longlegs of the Evening - Hope!" and the right seated figure from Otto Dix's "Skat Players"

See: Necronom IX (1976) 

Giger's Witches Dance (1977)

e) Witches Dance (1977)
Giger's Witches Dance incorporates elements from both Otto Dix's "Skat Players" and Wifredo Lam's "The Eternal Present" amongst other paintings


See also: Witches Dance (1977)




Jack Kirby's Lemurian train bomb (1977)
f) Jack Kirby's Lemurian train bomb (1977)
In terms of this series of paintings,  Jack Kirby's Lemurian train bomb (1977) takes notice of  Dali's "Daddy Longlegs of the Evening - Hope!" and considered the commonalities between it and Giger's "Necronom IX" where Giger has taken the phallic nature of the bottom of the violin in Dali's painting and added a hand massaging the fleshy protruberance.


Unused Alien Logo (1978)
g) Unused Alien logo
Perhaps this was not consciously related to the idea of treasures of Satan, somehow the spirit of that painting got into the design with the long tentacle like wing design and the spiralling tendrils at the bottom left, but it was known to be loosely based on photos of Giger's artwork, and seeing that it was created early in the production, the assumption is that Alien Monster IV was painted afterwards later in 1978 taking the logo into consideration as one of the many source of reference




http://alienexplorations.blogspot.co.uk/1996/02/4-treasures-of-satans-transformation.html
Giger's Alien Monster IV (1978)


h) Giger's Alien Monster IV
This painting could be considered one of Giger's Herculean tasks, pulling a multitudes of ideas from paintings together that came before him in the Treasures of Satan family, and perhaps he has recognised the possibility that Gustave Moreau's dragon tails ought to have been significant to Delville when he painted Treasures of Satan, and then Giger merged it with some other more modern ideas. Giger considered himself a surrealist and here was perhaps his most formal contribution to this Treasures of Satan family.

Also see: Giger's Alien Monster IV (1978)


Anima Mia (1980-81)
i) Anima Mia (1980-81)
Giger painted Anima Mia at the beginning of the 1980s and this went back paintings such as Guernica, Celebes and Dali's "Debris of an automobile giving birth to a blind horse biting a telephone" merging them together with other concepts



http://alienexplorations.blogspot.co.uk/1986/02/alien-monster-iv-to-james-camerons.html
James Cameron's Alien Queen (1986)

j) James Cameron's Alien Queen (1986)
James Cameron with his creature creator Stan Winston created the Alien Queen that bore enough similarities to Giger's Alien Monster IV enough to suggest that this was Cameron's starting point for his immense alien mother and so became one of the most well recognised movie monsters in cinema history.

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