Bananas in Art
Still life with bananas, jar and cashews, 1870 by Francisco Oller
In this post, I’ll be examining the representation of the banana across different movements and time periods in the art world, revealing some of its nuances. The still life painting by Francisco Oller features a banana along with other subjects: a plate, a jar, a glass, cashews, a table, and cloth.
In terms of semantics, the objects do not denote anything substantial beyond representing crops and items that are common in South America. Looking at its pragmatics, we can say that the still life represents a typical dining table of a Puerto Rican household, reflecting the artist’s home country.
Regarding syntax or structure, we see that the objects are subordinates within the class of “still life.” They are arranged asymmetrically on a clothed table and positioned against an empty wall background in one-point perspective. Through the analytical process, we observe the attributes or characteristics of each object. The painting is executed in a realistic style, depicting the objects as naturally as possible. The jar is made of clear glass and is half-filled, the glass is empty, and the bananas and cashews are ripe and bright yellow. The hierarchy of images is almost equal. Based on the title, the bananas, jar, and cashews hold the same level of importance for the viewer.
Still Life with Red Bananas, 1909 by Max Weber
The second artwork is “Still Life with Red Bananas” by Max Weber. The symbols or alphabet of this painting are images of red bananas, a jar, and other fruits.
A closer look at its semantics, the red banana is a variety of the typical yellow Cavendish banana. It has an ‘exotic’ quality compared to the common variety. Looking at its pragmatics, Max Weber, as a Jewish-American painter and Primitivist, views his subjects through a Western lens. The objects, especially the banana, are seen as exotic due to their red hue.
Regarding its visual grammar, we see again that the objects are subordinates within the class of “still life.” The painting however follows a Primitivist approach when the elements are stringed together. The brown palette and ‘wild,’ expressive strokes also support the aesthetics of Primitivism with their earthy tones and “less-civilized” motif. The painting lacks a clear perspective, making it less rigid and more organic.
Comedian, 2019 by Maurizio Cattelan
On this last artwork to examine, the singleton banana is the subject. Its supporting element is the duct tape that affixes the banana to the wall. Hidden from the audience, which is an important part of the work, is the certificate of authenticity, along with detailed diagrams and instructions for display.
Reading on the underlying meaning behind typical yellow Cavendish banana, it could symbolize the global trade market, as bananas are typically exported goods. It also has the attribute of the ‘mundane.’ Looking at its pragmatics, the work itself acts as a parody of the commercial market as well as the art world. It critiques capitalism (anything can be sold) and institutions (what can be considered art as dictated by the art world). The certificate of authenticity and the exhibition setting elevate the mere fruit into something sacred or higher art. Maurizio Cattelan’s instructions on how to display the work remove its materiality, making it purely conceptual: any banana can replace the object on display.
Lastly, we could find a narrative with the duct tape acting as a vector, taping the banana to the wall as a goal. The tape makes it more explicit that the banana is placed on the white wall of the gallery, connecting it to the context of placing an object in a white cube space. This concept (use of instructions) keeps the artwork’s structure consistent, even when a different banana, duct tape, or wall is used. Alternatively, when the audience interacts with the banana, the vector is transferred to the actor who removes or eats it giving a response to the dialogue (negating the artist’s perspective on the matter).
Comparing the three artworks featuring bananas as a subject mainly through conceptual (classificational) and symbolic processes: 1.) Francisco Oller approached it realistically, depicting the subject as naturally as possible. His sense of realism helps us understand that the image is an unembellished portrayal of contemporary life for a common Puerto Rican during his time. 2.) Max Weber, on the other hand, approached it as a Western Primitivist, romanticizing a return to a simpler life. In his work, the banana serves both as an export good and an exoticized subject. His portrayal of simple life is reflected in his artistic choices of brushstrokes, composition, and palette. 3.) In contrast to the previous works, Maurizio Cattelan’s piece is more difficult to interpret due to its conceptual nature. The audience may need to possess a higher level of visual literacy, as they should also share an understanding of capitalism and the art world with the artist. This is why some viewers, lacking this background, may ridicule the work for its complexity or ignore it due to cognitive dissonance.
