HR Giger's Alien Monster III, 1978 along side Max Von Moos' Teufelsküche (auch: Stalingrad), from 1944 |
leading from
Giger's Alien Monster III, 1978 |
a) Discovery
I had the idea some years ago that I realise that Alien Monster III must have been inspired by something slightly Picasso-esque as a homage to some sort of an artist, just as I worked out that Giger's Alien Monster IV was a homage to Jean Delville's Treasures of Satan in the 1990s but at least it was a significant point of reference
Max Von Moos' Teufelsküche (auch: Stalingrad), from 1944 |
c) Realisation after a passing
After HR Giger had finally passed on, I took a look at an article from in Kunst Nachrichten from Feb 1973 where Giger in an interview mentioned the names of some people that inspired him, and so my attention was drawn to Max Von Moos's name and his artwork fit the bill, something almost Picasso-esque, and then suddenly on Friday June 2014 I discovered this painting by Von Moos called Teufelsküche (auch: Stalingrad from 1944, and there are enough interesting similarities.
heads from Giger's Alien Monster III and Max Von Moos' Teufelsküche (auch: Stalingrad), from 1944, with similar pointed ear like shape |
comparison between clay sausage gnome like lemures and side pipes from Teufelsküche turned on their side |
Max Von Moos' Teufelsküche (auch: Stalingrad), from 1944: the arm is also clearly the 'inspiration' for the face-hugger form of the alien (arm = tail; fingers = legs; thumb = air sacs/bladders)
ReplyDeleteWell, Giger was certainly a fan of Von Moos.
DeleteI don't know if I don't know if Ridley who chose and agreed on the various the elements used in the design saw the painting, or if Dan O'Bannon who drew the plan for the facehugger saw it either.
But it oddly does share some elements in common with the final facehugger and it seems to be a valid question to ask.
Giger's idea for a design for a more compact facehugger didn't seem to have the forms that could be connected with the thumbs on this