My little white jar of Dundee Marmelade has returned.  Don’t know why I love it so.  Love is just that way.  Fickle, you know.  When I cast about for something to draw, sooner or later my eyes land upon the little jar, and I feel it beckoning.  Smooth and white like porceline, heavy with marmelade, subtle in its whites that softly reflect every adjacent object in muted tones, I just cannot resist.  And the name “Dundee” printed so magestically, confidently.  It was the constant object of my admiration today.

The ways of drawing cylinders is something that every art student encounters eventually.  Some rules of perspective provide a recipe for a cylinder that will always receed properly, whose top will form just the right oblique oval to tell how a little jar stands with respect to God and gravity, that will make it seem as properly symmetrical as in truth it is. 

But do the eyes see this symmetry?  Or, at least can we question whether we see it all the time in its rationality?  We have two eyes, and each one sees something slightly different, and between the two of them a highly inquisitive and perceptive viewer can detect the deflections of thought between right and left and this way and that.  Perhaps unconsciously we note the discrepencies between our two eyes and catch glimpses of the irregular cylinder presented in stereo to competing optic nerves?

I like to think that my cylinders are not incorrect, just lovingly observed twice.

I’m not sure what I’m going to do with this jar, but these drawings are like casting actors for roles.  These are the auditions.

And finally, below, we see the jar as it is — in itself — not in character but in ordinary life.

3 thoughts on “Return of the Dundee Jar

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