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Where Art Meets the Heart

link to Vi's art gallery, acrylic art for sale at where art meets the heart
Vi's Art Gallery

link to phil's art at where art meets the heart - etchings, drawings, rustic furniture
Phil's Art

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link to meet Violet May Huntley-Franck and John Philip Huntley-Franck at Where Art Meets the Heart - an online art gallery
About Us

link to Guest folk artist Richard Carpenter, at Where Art Meets the Heart
Guest Artist
Richard Carpenter


link to contact Violet May Huntley-Franck and John Philip Huntley-Franck at Where Art Meets the Heart - an online art gallery
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Welcomes you
to
Vi's Art Gallery

Trying to make a difference in an indifferent world.

Art for sale and to view
- art from the heart -
By artist and writer: Violet Huntley-Franck

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link to Phil's photo art galleries, at Where Art Meets the Heart
Nature
Photography
Up Close


link to picture of the month in the digital photography page at Where Art Meets the Heart
Picture of the Month

Experience/being leads to understanding, understanding is knowing, knowing is truth - link to quantum zen
Quantum Zen

link to the Book Attic at Where Art Meets the Heart - books we have written, books we like
Book Attic

link to neatlinks page, a collection of art, writing, photography and spiritual sites that share a common purpose
Neat Links

link to Day of the Whales, featured article by Wendy Slee
Day of the Whales

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A Picture is Worth a Thousand Words,
but a Painting is Worth a Million.

It begins in my heart - this expression of who and what I am, an artist, a lover of this beautiful earth and all beings living upon it. We have long been in dire trouble for oh so many reasons and I wanted to help, so I began by writing books/novels.

Deep within, I knew there was something more I was born to do.  Awareness came in 2001 when I discovered that art was missing from my life.  A wonderful art teacher, Jerry Yarnell, helped me remember the dream of my childhood - to become a painter of fine art.  I watched his shows on Oregon Public Broadcasting and learned to paint.  The following two years I entered work in local art shows.  In the summer of 2004 I had my own exhibition.

My husband, Phil, dear man that he is, was inspired to find a way to display and sell my artwork from home.  The idea sprouted into our website, Where Art Meets the Heart, my online art gallery.  Phil is creator and caretaker of our eclectic site.  It is a place of the soul, a place where the visions that appear to me are transposed onto canvas and made available for sale and viewing enjoyment.

It is my dream for people everywhere to find their own inner visions and show them forth.  As this happens, this planet will transform into a place of peace.  I only hope to be an inspiration.

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Browse Vi's daily account of painting's joys, discoveries, events, trials and tribulations:

Vi's Art WebLog and Diary

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All paintings are in acrylic

The following paintings are no longer available:

original paintings at where art meets the heart that are no longer available from the artist gallery

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New paintings:

Select a Painting Catagory,
then click on a thumbnail to see each painting and its details.

Link to banner: Animals - Birds, Pets, Wildlife Link to banner: landscapes Link to banner: native american Link to banner: portraits
Link to banner: unusual moments in time Link to banner: seascapes Link to banner: Spiritual

Classication of paintings

Sometimes it's hard for me to be objective about my work, what classification it fits into, especially since I have never taken art theory or any such training.  I paint what I like, what the muse brings . . . that which touches me.  Sometimes I paint a subject to gain the skills it can bring me.  Even so, I put my soul into each work - how could I do otherwise?  I did not become aware of the correct classification of my paintings until a site we linked to listed my works as Expressionistic.  I had to look it up.  Apparently expressionism came into vogue during the early part of the 20th century.  It emphasizes subjective expression of the artist's inner experiences.  This is true for me in my art as well as my writing.


painting category: Animals - birds, pets, wildlife

There is a purity in the animal kingdom. In computer terms it's called WYSIWYG - what you see is what you get. It's one of the reasons I love animals. They are who they are. Programmed by genetics and that which is passed down one generation to the next, they are life without malice, without conniving. I also see them as beings with consciousness. While some say it is anthropomorphic to think my cat loves me, I do not. To me they are beings like us, only better. We, humans, like to think we are above the animal kingdom. I disagree. There is much we can learn from them and their acceptance of what is. When I paint animals I try to capture the looks - the consciousness in their eyes. I try to reflect the soul within. I strive to honor and respect them.

Link to original painting of Missie the menopausal raccoon, realism wildlife, at Where Art Meets the Heart
Missie

link to painting Northern Rights, a wildlife portrait by artist Violet Huntley-Franck at where art meets the heart
Northern Rights

A portrait of the unusual, the surprises in life, by artist and writer Violet May Hunytley-Franck
Nestling

A wildlife portrait of nature - a Spotted Owl -  at the art gallery of Where Art Meets the Heart
A Bird in the
Hand
link to original art for Wolves of Teton Gulch, a wildlife landscape, by Violet Hunleyy-Franck at where art meets the heart
Wolves
of Teton Gulch
Link to original painting of a Bull Elk, realism wildlife, at Where Art Meets the Heart
Summer in
Elk Country
Link to original painting of Apple Bandits, realism wildlife, at Where Art Meets the Heart

Apple Bandits
Link to original painting of Spirit of the Night, realism wildlife, at Where Art Meets the Heart

Spirit of the Night

painting category: landscapes

Raised in a rural setting I grew up in the trees.  I swam in a salt water slough that ran past my parents' pastureland.  Though my parents didn't have much money, they provided all I needed to develop an appreciation for the natural beauty on this planet.  I am part of the land, the trees and all that is of the earth.  When painting landscapes I endeavor to capture the essence of the natural. I feel the energy.  To me there is no such thing as insignificant being, be it animal, plant, stone, the water we drink or the air that we breathe.

A landscape painting of a wooded scene with a stream flowing throughit
Remembering Summer

A landscape painting of Oregon's Multnomah Falls
Multnomah Falls

a landscape painting of the road less taken, the Path to Potential . . . by artist Vi Huntley-Franck
The Path

a landscape painting of Paradise Found, by artist Vi Huntley-Franck
Paradise Found

banner for category: Native American

When I was nine-years-old I was asked if I was Native American.  It was the cheekbones that gave me away.  My dad thought we were.  It seemed our grandmother several generations back was named Gooselberry.  While my ancestry is largely northern European, I am a genetic mutt.  The idea of being Native American gave me great pride.  Later we learned that Gooselberry was an aunt by marriage, not a grandmother.  I was very disappointed.

Over the years I began exploring various cultures, including their spirituality.  I learned to value Native American spirituality, specifically the way they honored the land, the animals, all living beings, all things - the spirit world.  Once I came to believe in the possibility of reincarnation I accepted I might have been Native American during other lifetimes.

While learning to paint I became inspired by the images and beings I saw with my mind's eye.  Some of these beings appeared to be Native American.  I began to paint them.  If we are to survive as a species, if all other life is to survive, we must learn to respect all that is within, on and around the earth.  We must step up to the Native American way of honoring All-That-Is.

A Native American viewpoint of spirituality in nature, from the art gallery of artist Violet May Huntley-Franck
Bear Necessities

Link to fine art painting of Dear Heart, a portrait by artist Violet M. Huntley-Franck
Dear Heart

Book cover art, landscape, for the novel Grandmother's Cave, by writer and artist Violet M. Franck
Grandmother's
Cave
A Native American landscape and portrait of wisdom and beauty, by Vi huntley-Franck
Medicine
Woman
Book cover art for the novel Spirit of the Moss Woman, by writer and artist, Violet M. Franck
Spirit

A spiritual Native American landscape of Crown Point, Oregon, from the art gallery of artist and writer Violet Huntley-Franck
Spirits of
Crown Point
A spiritual view of the Wizardry in Nature, an unusual portrait by artist Violet Huntley-Franck
Wizardry

Native American painting - return of a loved one, coming home, a portrait, by artist Violet Huntley-Franck
The Return

banner for category: portraits

I am especially drawn to paint portraits - exact likeness.  At present I'm working on developing that skill.  I consider some of my animal paintings portraits as well, though I assign them to the animal category.  When I paint portraits I try to connect with who the individual is.  If that person is deceased, I reach out to their spirit, so I can incorporate that spirit into my painting.  I've painted three portraits in that manner: my friend Tosca, Otto and my sister Anita.  If I knew the person in life, painting their portrait helps me work through the loss.  I talk to them.  I hear their words.  It is an intimate experience.

Portrait of Aunt Lottie and Me, a reminiscence painting
Aunt Lottie
and Me
Link to painting Feeling Good, a spiritual portrait by V M Huntley-Franck, at Where Art Meets the Heart
Feeling Good

an artistic portrait of singer and song writer John Denver
John Denver

An artistic portrait of The Man in Black, Johnny Cash
Johnny Cash

link to fine art portrait of The Likeness, at the art gallery of Violet Huntley-Franck
The Likeness

Link to original painting That Was Then, a portrait, at Where Art Meets the Heart
That Was Then

link to original art Otto, a portrait, by Violet May Huntley-Franck at where art meets the heart
Otto

link to original art My Sister Anita, by Violet May Huntley-Franck at where art meets the heart
My Sister Anita

link to original art of Feisty old women, by Violet May Huntley-Franck at where art meets the heart
Feisty Old Women

link to original art portrait of nude, Au Naturel, by Violet May Huntley-Franck at where art meets the heart
Au Naturel

link to original portrait art When Dad Was Young, by Violet May Huntley-Franck at where art meets the heart
When Dad Was Young

link to original portrait art, Echoes of 39, by Violet May Huntley-Franck at where art meets the heart
Echoes of '39

banner for category: unusual moments in time - scenes

As we think of our lives, it is often not the events we recall or movies of events, but snapshots burned into our memory, photos that capture the essence of moments in time.  One of the functions of creativity is to show forth the most unusual of these moments, be they tangible or illusive.  The wise ones tell us that we are limited only by our imaginations.  Art accentuates this process.  For me, sometimes images come together to tell an unusual, perhaps intimate story of the world as I see it, or as I fancy it to be.

A landscape painting of comaraderie and spirituality between species, at the art gallery of Where Art Meets the Heart
Clem and
Mortimer
link to the fine art painting First Audience, a spiritual portrait at where art meets the heart
First Audience

A portrait in landscape of being Homeward Bound, by Artist and writer, Vi Huntley-Franck
Homeward

A Native American portrait of peace, harmony and friendship.  From the art gallery of Vi Huntley-Franck
Indian River

link to fine art painting Mom and Me, a landscape, at where art meets the heart
Mom and Me

a landscape snapshot of our Journey through life, taking pause - at Where Art Meets the Heart
Journey

link to original art for Nature's Gateway, a landscape, by Violet May Huntley-Franck at where art meets the heart
Nature's
Gateway
a portrait of expressionism where the difference between stranger and friend is a moment of discovery
Hideaway

an expressionism portrait of the Crab Nebula in the constellation Taurus
Crab Nebula

link to fine art painting Gong Home, a moment in time, at where art meets the heart
Going Home

banner for category: seascapes

I grew up on the West Coast of the U.S.  I loved to play at the beach, sculpt sand persons, explore the rocks, wade in tidal pools, feel the waves and sand slip between my toes.  I love the ocean.  My goal when painting it is to capture the beauty, the peace that it brings me, even on a stormy day.  Much of my life has been stormy.  I am now at one with the storm.

A seascape and portrait of dreams in Flight - inspired by the novel Jonathan Livingston Seagull - a painting by Violet Huntley-Franck
Flight

link to original art for Seeking Solitude, a wildlife seascape, by Violet May Huntley-Franck at where art meets the heart
Seeking
Solitude
link to original art for Peaceful Horizon, a seascape, by Violet Huntley-Franck at where art meets the heart
Peaceful
Horizon
link to original art for Incoming Storm, a seascape, by Violet Huntley-Franck at where art meets the heart
Incoming
Storm
link to original painting for Beach Buddies, a seascape, by Violet Huntley-Franck at where art meets the heart
Beach Buddies

banner for category: spiritual

There is a debate over whether or not we are spiritual beings having a physical experience or physical beings having a spiritual experience.  I believe in the former.  When we are young we identify with the body.  We look in the mirror and think we see ourselves.  What we see is the house.  The contents are hidden.  That which is hidden is our spirit.  That spirit/soul is the essence of who we are.

From within, from that soul, beauty and creativity are born.  My paintings, my writings originate there.  Sometimes my works are inspired by others.  Sometimes they are inspired by nature.  Most often it comes from my very soul - my spirit - that which I am.  Usually the inspirations are nebulous in origin.  Whatever the source, the creation comes through the spirit.  In essence all the paintings are spiritual.  For a painting to receive a spiritual designation, means it steps into a higher realm.  It touches on All-That-Is.  Some call that God.  Some call it the One.  There are many names for it - but it is one and the same.  It is origin, infinity, Zen.

The White Rose, an unusual painting of the artist's cosmic spiritual journey within
Strange Journey

A portrait of Earth - in the beginning - by Violet Huntley-Franck
Birth

An expressionistic portrait of spirituality
Caretaker

an expressionistic portrait of a creator's whim at the art gallery of Where Art Meets the Heart
Creator

link to Eagle's Point of View, a wildlife landscape, at Where Art Meets the Heart
Eagle's
Point of View
A mystical and unusual painting of life's true wisdom and direction, from the art gallery at Where Art meets the Heart
Emerging
Sentience
a Native American portrait of peace and harmony, by artist and writer, Vi Huntley-Franck
Image and Spirit

A portrait of the inner workings of imagination, from the art gallery of Where Art Meets the Heart, by Violet M. Huntley-Franck
Imagination

Expressionism, a lanscape portrait of discovery, by Violet Huntley-Franck
Mystic

Book cover art for the novel The Cat Did It, written by J Philip Franck, painted by V M Huntley-Franck
The Cat Did It

link to original art The Sword Of Ruth, book cover art for the novel, The Sword of Ruth, written by Violet May Huntley-Franck at where art meets the heart
Sword of Ruth

link to original art for Freedom of Spirit, a portrait of inner freedom, by Violet May Huntley-Franck at where art meets the heart
Freedom of
Spirit
link to original expressionism art for Satori, a self-portrait of enlightenment, by Violet May Huntley-Franck at where art meets the heart
Satori

link to original fine art for Twin Flame, book cover art for Time Enough To Love, by Violet May Huntley-Franck at where art meets the heart
Twin Flame

link to original fine art for Final Journey, by Violet May Huntley-Franck at where art meets the heart
Final Journey

link to original art Universal Sacrifice, by Violet May Huntley-Franck at where art meets the heart
Universal Sacrifice

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Vi's Art WebLog and Diary

Vi's daily account of painting's joys, discoveries, events, trials and tribulations

A progressive log of creating original acrylic paintings



Where I'm at with my latest painting:
Together At Last

latest image of original painting, Together At Last, by Violet M. Huntley-Franck




Where I've been with the painting, Together At Last:

Evolutionary thumbnail 1 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
Image 1
Evolutionary thumbnail 2 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
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Evolutionary thumbnail 3 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
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Evolutionary thumbnail 4 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
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Evolutionary thumbnail 5 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
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Evolutionary thumbnail 6 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
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Evolutionary thumbnail 7 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
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Evolutionary thumbnail 8 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
Image 8
Evolutionary thumbnail 9 of the painting, Together At Last, by Violet Huntley-Franck at Where Art Meets The Heart
Image 9


The painting's history

Painting terms and definitions


1-1 & 3-09 Together At Last

I used the #6 bristle brush exclusively these two painting sessions.  Jerry Yarnell is right, sometimes the larger brushes are better.  It does keep a person from piddling, playing and puttering -which can mess things up.  I added additional layers to both Otto's and Mom Elizabeth's shirts to shade and shape them.  I shortened her sleeves and broadened both of their shoulders.  For his shirt I used a combination of burnt sienna, Payne's grey, a touch of alizarin crimson and white gesso.  I lightened her shirt with light blue violet, a touch of white and a very small touch of diox. purple.  After that I added more flesh tones to her face and neck.

12-28 & 29-08 Together At Last

Both days I wrestled with Otto.  I painted in his eyes and wiped them out.  I narrowed his head and widened it again.  I decided to go for the glow and a slight smile.  I had to remember that on the shaded side of the face I should add a little blue to the skin color mix and to highlight it I used a combo of yellow and white.  I used three different brushes, the #3 filbert bristle brush, a #2 round synthetic sable, and a #4 flat synthetic sable.

12-27-08 Together At Last

I began detailing Otto's face.  It was too wide, so I had to wipe some of it out with the sky color.  His ear was too low, so I raised it, but I think it's still too low.  I was trying to make him smile.  In the only photo I have of him, he's very serious looking.  Well, I think in the process I made him scowl.  Even so, I don't seem to be having as much trouble as I did two years ago when I painted him for Mom Elizabeth.  Now that she's passed and they are together, both of them are happy.  So I at least need to be able to make them glow.  Glowing is good.

12-22 & 25-08 Together At Last

I underpainted Otto and Elizabeth.

12-21-08 Together At Last

I drew in Elizabeth and Otto (Phil's mother and her twin flame.)

12-20-08 Together At Last

This session I highlighted the shrubs, deepened shadows and added another layer to the bark on several trees.  It won't be long until I add Otto and Elizabeth in the foreground.

12-15-08 Together At Last

I added a second layer to the bridge and the water.  I also highlighted bark on the trees, three dimensionalizing it.  I also underpainted an evergreen tree.  I played around with the path in the foreground.

12-14-08 Together At Last

I painted in the background trees, creating depth.  My one discovery is that with a yellow sky the foliage needs to have a blue-green hue rather than a yellow-green hue.  The yellow-green blends into the background.  It's harder to establish definition.  For the desired effect, I also need more shadowy areas in the trees.

12-13-08 Together At Last

I drew Otto and Elizabeth together on paper, the size I would want them to be on the canvas.  Then I cut around their images, placed them in the position on the canvas and drew around the cutout.

12-11-08 Together At Last

Today's session I sketched in a rough drawing and underpainted the rest of the painting.  I used a #10 bristle brush.  For the mid and foreground bushes, I used white with a touch of purple and hooker's green, getting gradually darker as I came forward.  The water is a combination of hooker's green, burnt sienna and cad. yellow medium.  The shoreline is diox. purple and burnt sienna.  In underpainting the bridge, I used raw umber and diox. purple and a touch of white.  Although I'm going by a photograph of a botanical garden, I'm also using Jerry Yarnell's painting, The Pathway, to guide me.  It can be found in his book, Painting Basics.  He also has a video of this painting, available through his website.  Using his instructions helps remind me of the steps I need to take.

12-09-08 Together At Last

I decided to do the painting landscape instead of portrait.  So I turned the painting sideways.  I lightened the sky color, and in the area of that sky that was green I added a combination of yellow, white and a touch of Indian yellow.  I then dabbed in the background trees, using a light colored mixture of burnt sienna, diox. purple, ultramarine blue, hookers green and white.

12-04-08 Together At Last

I started by spraying the canvas with water, then I spread white gesso over the canvas using the 2" hake brush and X motions.  To the top, I add a strip of cad. yellow medium and a bit of Indian yellow.  I blended down, adding more yellow as needed.  In places, I blended in a touch of orange and burnt sienna.  At the bottom of the canvas I swiped on hookers green and yellow, and blended up.

View prior entries for previously completed paintings in Vi's
Art and Weblog Archive.

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