Alien Explorations: Merging Steiner Prag's "At the master's grave" and Gleeson's "The sower" for Giger's Mordor VII

leading from
James Gleeson
and
Giger's Mordor VII

a) 8th April 2016: In my theory about Giger being inspired by Steiner-Prags "At the Master's Grave", and Gleeson's "The Sower" to paint Mordor VII, I have been asking myself what the connection between Steiner Prag's At the Master's Grave and The Sower would have been.

I noticed that there were a banana shaped cutaway space between the body and the wing in The Sower that lead to the head and not looking directly at Steiner Prag's illustration , I could see how it worked well with the shape of the body that Giger had been using inspired by "At the Master's Grave".

Then I went to take a look at the latter again and realised what this was all about.

b) A pattern in Giger's work would that I would notice is that he would take a certain painting of note and then someone's reinterpretation and then make a painting inspired by a merger between the two as he did with Dali's The Great Masturbator and Cocteau's Reveries of Cocaine to create National Park.

He also found out about the relationship between Steiner-Prag's "At the Master's Grave" and Gleeson's "The Sower".

Gleeson turned the body of the golem character into an empty space and turned the tombstone behind the figure which has it decoration at the top into a wing.

A broken gravestone at the bottom left connecting to the tree with bare branches that runs up the left of the painting transforms into a monster's mouth and perhaps Bocklin's "Isle of the Dead" type Cypress trees with a tiny skull at the top intersecting with the giant's eyesocket.

Other aspects are to be explored soon.