Giger's Alien Monster III,
references Max Von Moos'
"Devil's Kitchen (or Stalingrad)" ?

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

HR Giger's Alien Monster III, 1978 along side 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
comparison between other clay sausage lemures and
strange black bent pipe like thing with single red eye

b) Items to see
The painting in question shows a semi Picasso-esque  composition , including large hands, a block as a platform and serpentine or elongated forms stretching across and the lower back part of the person's hat or hood shows up in the form of the exposed area behind the jaw of the alien creature with the piping. 

Max Von Moos' Teufelsküche (auch: Stalingrad), from 1944


  1. 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)

    1. Well, Giger was certainly a fan of Von Moos.

      I 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