So much so that both painters returned to the theme for the rest of their careers.
Giger in ever increasing resolution,
Down to the microscopic.
Until I think Giger's alien ship, rebooted in Prometheus (and the other film) is essentially a journey begun with Böcklin's isle of the Dead, although by this time it equally resembles so many other things, from a torc to a lamprey, that it would become increasingly difficult to argue, but no less the same image.
While Beksinski zooms ever further out, his image returns to the theme shorn of life. Not even Böcklin's dark, enticing thatch of Cyrpus nestled inside the broken circle (or perhaps English/Irish Yew, found in most country graveyards and favoured for it's ready use as a poison for arrows) makes it into any of Beksinski's images. Anyway, more later.