Still Life Studies: Peeled Lemons / by Neal Auch


… After my cousin died,
my father died & then my brother. Next, my father’s older brother
& his wife. And, finally, after my mother died, I expected
to die myself. And because this happened very quickly
& because these were, really, almost all the people I knew,
I spent each day smashing dishes with one of my uncle’s hammers
& gluing them back together in new ways. …

—Kathleen Graber, The Magic Kingdom (full poem)

These two new vanitas still life compositions both use one of the most common and perhaps most cryptic motifs from the history of still life painting: the peeled lemon. Lemons show up frequently in the paintings of the Dutch masters that act as my primary inspiration for this project.

There seems to be some disagreement amongst critics about what, precisely, the lemon represents in art. Of course there is the obvious fact that the lemon, like any food items or flowers in still life, can act as a reminder of the passage of time. As with human life, these items and the pleasure they bring will be gone all too soon. Lemons were also a very expensive fruit at the time; this might suggest an interpretation that the fruit is meant to remind us of the vanity of wealth. The fact that the lemon almost always appears partially peeled also seems significant. Presumably where the fruit appears in this way it is because artist intended to draw attention to the contrast between the beautiful saturated tones of the peel and the sour taste of the flesh. It seems likely that this presentation is intended to convey a message of warning about superficial beauty. Often the peel hangs precariously over the edge of the table giving the composition a sense of depth and, perhaps, also implying a deeper meaning about the fragility of beauty.

For the first image in this series I paired the rotting peeled lemon with chicken feet and dead baby mice. One of the mice has been placed inside the flesh of the lemon, adding a secondary layer to metaphorical interpretation discussed in the previous paragraph.


For the second image of this series I kept the motif of chicken feet, but added in a few new elements: human teeth and a broken ceramic plate. The broken plate is a fairly obvious metaphor for fragility and mortality. Here I was inspired not only by the history of still life painting, but also by the wonderful poem by Kathleen Graber that is quoted at the beginning of this post. (Do yourself a favour and go read the whole poem at the New Yorker; it’s a beautiful piece of writing.) Graber’s poem addressed fear of death in an intimate way and resonates with the central memento mori themes of my work. There is something very touching and human about the passage quoted above, in which the narrator attempts to cope with the loss of her loved ones by smashing dishes and glueing them back together. In my interpretation this is about denial of death and a hope for an afterlife; the narrator is engaged in a vain attempt to convince herself that what has been destroyed can somehow be remade.