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H. R. Giger (1940–2014)

Författare till HR Giger ARh+

48+ verk 2,034 medlemmar 26 recensioner 5 favoritmärkta

Om författaren

Foto taget av: JaSunni

Verk av H. R. Giger

HR Giger ARh+ (1991) 629 exemplar
WWW HR Giger Com (25 Spring) (1997) 351 exemplar
H.R. Giger's Necronomicon (1977) 194 exemplar
HR Giger (Icons) (2002) 166 exemplar
Giger's Alien (1979) 149 exemplar
H.R. Giger's Necronomicon II (1985) 82 exemplar
H.R. Giger Tarot (1993) 73 exemplar
H. R. Giger's Biomechanics (1989) 50 exemplar
H. R. Giger's Film Design (1996) 37 exemplar
Species Design (1995) 26 exemplar
H.R. Giger, N.Y. City (1981) 15 exemplar
Necronomicon I & II (2005) 10 exemplar
HR Giger. Ediz. italiana (2010) 9 exemplar
Giger Diary (1997) 3 exemplar
H.R. Giger (1996) 2 exemplar
H.R. Giger N.Y. City (1981) 2 exemplar
HR Giger - Baby Sumo (2016) 1 exemplar
HR Giger art 1 exemplar
2007 H. R. Giger Calendar (2006) 1 exemplar
HR Giger in Prague 1 exemplar
Necronomicon Ex Mortis (2015) 1 exemplar
GIGER SORAYAMA (2021) 1 exemplar
Tarot 1 exemplar
H.R.Giger Calendar (2000) 1 exemplar
Passagen 1 exemplar
Polaroids (2014) 1 exemplar

Associerade verk

Alien (1979) — Art Department — 482 exemplar
Aliens [1986 film] (1986) — Formgivare — 396 exemplar
Alien³ [1992 film] (1992) — Formgivare — 186 exemplar
Lost Transmissions: The Secret History of Science Fiction and Fantasy (2019) — Art/illustration — 119 exemplar
Aliens Omnibus 01: Earth Hive, Nightmare Asylum (1995) — Bidragsgivare, vissa utgåvor45 exemplar
A Lovecraft Retrospective: Artists Inspired by H.P. Lovecraft (2008) — Illustratör — 37 exemplar


Allmänna fakta

Vedertaget namn
Giger, H. R.
Namn enligt folkbokföringen
Giger, Hans Ruedi
Chur, Graubünden, Switzerland
Zürich, Switzerland
Zurich, Switzerland
School of Applied Arts, Zurich, Switzerland
set designer
film director
Giger, Carmen Maria Scheifele (wife)
Priser och utmärkelser
Academy Award for Visual Design (1980)
Science Fiction and Fantasy Hall Of Fame (2013)
Inkpot Award (1979)
Kort biografi
H.R. Giger was born in Chur, Switzerland, in 1940. As a child he developed a strong passion for all things surreal and macabre. His need to express himself and share the unique aspects of his powerful imagination drew him to the visual arts. Giger's own dreams and the brilliant imagery of such fantastic geniuses as Gustav Meyrink, Jean Cocteau, Alfred Kubin and H.P. Lovecraft combined to form a rich soil from which the amzing imagery of Giger's own art has come to sprout. It has since bloomed into the vast wealth of exotic women, wondrously bizarre landscapes, and frightening creatures that have captured the fascination of millions of fans worldwide.

Meticulously detailed, Giger's paintings are usually done in large formats and worked and reworked by this maestro of the airbrush. It was Giger's popular art book, ‘Necronomicon', that caught the eye of director Ridley Scott as he was searching for the right look for a creature in his upcoming film. That creature, of course, turned out to be the Alien, and Giger's masterful designs for the film of the same name garnered him a much-deserved Academy Award.

Giger's fascinating biomechanical style, that brilliant synthesis of flesh and machine, has been realized not only through his remarkable paintings but also via sculpture pieces, elegantly fashioned furniture, and architectural and interior design projects. His paintings have been displayed in galleries and museums throughout the world.

Giger's alien aesthetic, his ‘biomechanics', goes beyond talent, and even art. It enters the rarified realm of the near magical, and certainly the land of genius. The ensuing art is a mere taste of the phenomenal oeuvre that this unique Swiss maestro has created.



Darkly beautiful reflections of a very dark mind.

I had no idea until now that this was the mastermind behind the morbid, fascinating creature of the Alien franchise, but some of his other work makes that look like child's play, and learning about the man behind the art was almost more intriguing than viewing the art itself. Giger's anecdotes illustrate how so much of his work was inspired by the same obsessions and fears that began in his early life - women, weapons, worm-like creatures, death, and ghosts. Much of his work pays homage to the dark sides of these subjects not only with their color scheme (various black and gray tones which, for some reason, remind me of early X-ray crystallography images), but also in their oddly structured nature and an abundance of phallic and sexual symbolism.

I may not be a diehard fan like the writer of the foreword - Giger's work doesn't exactly send me into poetic rhapsodies - but I love the "biomechanical" aesthetic for which his art is famous. At the end of the day our bodies are, in a sense, highly evolved machines with a precisely regulated array of functions to keep us alive. To visualize our internal machinery using gears and springs and the like - while simultaneously illustrating the flip side of our existence, our darkest desires and fears, takes a very unique mind with a penchant for the ominous. And I love how, with the then highly-disdained airbrush, Giger managed to produce works of such realism that he was even questioned at one point whether they weren't actual photos.

My 2 favorite works from his collection are Li I and Li II, particularly memorable because of Li Tobler's tragic fate and how they almost seem like posthumous homages to her struggles. The paintings where her face makes an appearance seem to have a surreal aspect to them simply because of that presence. But I guess that's the essence of the word "surreal" - it wouldn't exist without the "real." And whether I like all his art or not, I can definitely say that H.R. Giger was a master of the surreal, as well as the shocking and provocative. I'd recommend his art to anyone who likes horror and is up for some interesting dreams (and/or nightmares).
… (mer)
Myridia | 4 andra recensioner | Jan 19, 2024 |
Author Akron (pseudonym of C. F. Frey) is the occultist chiefly responsible for the H. R. Giger Tarot, according to the turn-of-the-millennium account he gives in this book. Giger had certainly been working with tarot themes and motifs on his own, but he produced the tarot-centric volume Baphomet (1992) in collaboration with Frey, as a "tarot cycle" to manifest the ambitions that Frey had nurtured separately for a "Shadow Tarot." The trump images in Baphomet were largely drawn from Giger's existing oeuvre.

When publisher Taschen was contemplating an abridged softcover reprint of the Baphomet material for a wider audience to accompany a popular printing of the tarot deck, Akron supplied this text that was superficially more in keeping with typical manuals of tarot. (He was already the author of a successful book on the Crowley tarot.) I do not have the deck, just the book. In particular, the book is limited to the trumps and does not show the small cards, if any exist.

The philosophical introduction and the preliminary chapters on the "spread systems" are applicable to any divinatory tarot, and they are thoughtful and innovative. I was especially intrigued by Akron's use of fiction for allegories that he uses to structure the spreads. In one case, he draws on Gustav Myerink's Angel of the West Window, and in another he seems to be referencing the cometary apocalypse from Lucifer's Hammer by Niven and Pournelle.

The bulk of the book consists of chapters for each of the trumps. These begin with two images in each case, the Giger tarot trump itself and an original sketch by Giger for each trump. Sometimes these are closely aligned, and sometimes they differ widely. All the art reproductions are in greyscale and black and white, which is largely sufficient for Giger's minimally chromatic, gloomy palette.

Akron supplies a little cluster of psychoanalytic sermons for each trump, and these are divided into "The Card" and "The Interpretation" in each case. "The Card" discusses symbolism, and also helps the reader to parse some of the densely clustered imagery of the trump paintings. Despite the collaborative relationship of the writer and artist, it is not clear that Akron is always transmitting Giger's compositional intent. In fact, it seems likely that there is creative misprision in play.

"The Interpretation" is addressed to the (tarot) reader/querent and is four-fold for each card, divided first by the querent's sex ("Woman" followed by "Man") and then by the orientation of the card in a spread--a "Reversed" section follows and complements each main interpretation. Each of the four sections consists of two paragraphs, the second of which is italicized. I was never able to figure out what was supposed to distinguish these two voices from one another.

The book ends with short biographical chronologies for the two Swiss creators Giger and Akron.
… (mer)
paradoxosalpha | 3 andra recensioner | Aug 28, 2023 |
As this is a picture book, no review. Being a fan of his Art I just wanted to add it to show I own a copy.
H. R. Giger
Ingo.Lembcke | Oct 27, 2015 |
As this is a picture book, no review. Being a fan of his Art I just wanted to add it to show I own a copy.
H. R. Giger
Ingo.Lembcke | Oct 27, 2015 |

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