My Tale of the South Pacific
“When all you care about is here, this is a good place to be”. Emile de Becque
Can you remember the first time you cried at a movie? The movie was South Pacific derived from a plot by James A Michener’s Pulitzer Prize winning 1947 book, Tales of the South Pacific, and from the musical by Roger and Hammerstein. It touched my heart and my soul. I was seven-year-old, sobbing, as I watched the scene, when Lt. Cable's fatal plane crash was shot down by the Japanese, unable to return home to his love. South Pacific was a reminder of the times, not only did I relate to being a military brat, and the separation I often felt, when my father had to be stationed away from us, but was mesmerized and in love with the beautiful scenery, in which this movie took place. I also believe I had a deep knowing and premonition of a future with this island and the loss of my father to soon come after his mission in Vietnam.
Unknowingly, at 25 years old I revisited the scenes of South Pacific, in the North Shore, and Hanalei Bay of Kauai? I soon discovered that Bali Ha’i the volcanic island, within sight of the island on which most of the action takes place, really wasn’t an island in real life, but Mt. Makana cut off from a chain of mountains, found at the end of the road. Auntie Louise, owner of Tahiti Nui Restaurant, may have been the recreation of Bloody Mary’s character. The beach on either side of the Hanalei pier was the principal filming location for most of the beach scenes involving the sailors led by Luther Billis played by Ray Walston. It was here that Juanita Hall as Bloody Mary sang the song about the mysterious island Bali Hai.
Hanalei, Kauai, has captured my heart, fortunate to be able to have visited over 25 times, it has become a deep part of me where I have found much respite, enchantment and healing in my life. Once you have visited Hanalei, you will never be the same. It will be calling you as the song “Hanalei Moon” says, and as it has called me even before I had arrived.
When you see Hanalei by moonlight
You will be in Heaven by the sea
Every breeze, every wave will whisper
You are mine don't ever go away.
*Crescent Bay is my 46th painting of my #paint52 Challenge, measures approx. 8" x 11", Atelier Acrylic on 400 lb vellum, price $220.00 Sold
*Old Kauai is my 47th painting of my #paint52 Challenge, measures 12" x 16", Atelier Acrylic on Artist Canvas Panel, price $350.00. SOLD
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
What I Don't Know For Sure #paint52
"What do you know for sure?” Oprah asks Deepak Chopra. Deepak’s answer was quick no need for thought. “What I know for sure is, I know nothing”.
Continuing on my journey to complete 52 paintings in one year, I realize that I may have the same answer. I currently have finished 43 paintings with only 9 more left to go on my challenge. Right now I have questions, more than answers?
Has doing this challenge been worth it? Why? What have I gained?
Will I do the challenge again?
Have I had a good ROI (Return on investment)? Does it matter?
What have been the negatives in doing this challenge?
Has doing prevented me from imagining?
Has the challenge prevented me from exploring other mediums?
What would be another way to challenge myself and still create an environment for action?
What if I had a challenge to do so many square inches? Would that challenge me to do larger paintings?
Have I given myself time to study and improve or do I improve by doing? (Maybe it is a little of both)
Has doing the challenge taken the romance out of painting or just made it another job?
Have I created more followers and do they look forward to my paintings?
Have "I" been an inspiration?
I would love your comments, especially if this challenge has influenced you in any way. I am so grateful for all you who have followed my challenge, supported me and left comments. I couldn’t have done it without you and if I did it would have been very lonely.
"Splendor in the Grass" is my 42nd painting of my #paint52 challenge, Atelier Interactive Acrylic on 400 lb. vellum, measures 16" x 22", price $880.00, plus Shipping and Handling.
"Strength in What Remains Behind" is my 43rd painting of my #paint52 challenge, Atelier Interactive Acrylic on 400 lb. vellum, measures 6" x 7", price $105.00 plus Shipping and Handling.
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
Three Colors and a Pusher
"Working with a limited palette of elements leaves a designer nowhere to hide." ~Michael Bierut
Could this be the same for the Art World?
Ken Auster says, “When using a limited palette you solve most of your problems. You can’t mix the wrong color, although you may put it in the wrong place.”
Preferring my many colors to choose from, including Quinacridone Magenta, Green Gold, Quinacridone Burnt Orange, et cetera, et cetera, it was quite a discipline to paint the above painting with only three colors, Alizarin Crimson, Ultramarine Blue, and Cadmium Yellow Light. Also, added were Ivory Black, Titanium White and the pusher color Cadmium Red.
Ken Auster was correct in saying that you can’t make a bad color when mixing these colors together. Even though mud is made, focusing on edges and correct placement, the palette will be in perfect harmony.
A beginner would do well to paint with a limited pallet, especially when you add composition, stroke and value into the mix. Notice no neutrals are used, except the grey from black and white. Using neutrals when beginning isn't necessary, since most of the time a beginner will make plenty of them on their own. Avoiding neutrals will limit the chance of the painting turning into complete mud.
Almost every color can be made with the three above colors, except Cadmium Red. Cadmium Red cannot be made. I used Cadmium Red for the pusher color. Since it is a bright it is a great color to be used for the focal point.
Another wonderful palette you can try is; Indian Yellow (preferably Daniel Smith’s brand), Permanent Rose and Thalo Turquoise, plus black and white. The pusher color could then be Mediterranean Blue. This palette is great for a cooler painting. Ivory Black and Titanium White are added to create the neutrals. They make the most wonderful opalescent colors.
Do you have a favorite limited palette you would like to share?
This is my forty-first painting of my #paint52 challenge, medium Oil on vellum, measures 14" x 20″ price $795.00 plus Shipping and Handling.
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
Environment Friend or Foe
A friend of famous artist S. C. Yuan, Walter Georis, describes Yuan’s painting habits, “I remember that he was constantly trying to break some rules. He felt it necessary, In order to be a little bit mad at painting or bitter. He needed to be somewhat bitter in order to create the excitement or the stimulus that sometimes the city offers, that Carmel didn’t offer.”
Living in Morgan Hill, although driving distance to San Francisco, definitely is quieter than most, a typical bedroom community. I have become a contemplative living in the solitude of the country, and completely understand what S.C. Yuan was trying to do.
I believe as Oprah would say, that I am having an ah ha moment. I believe living in a small town has also influenced my style. I find a need to create a problem that needs to be solved every time I paint; such as using unusual pallets, have contrasting under-painting, try difficult compositions, use brushes that are large relative to the canvas and attempt subject matter that I am unfamiliar with.
Is this how I create more passion, more creative energy?
How important is where you live for an artist? Does it affect your art positively or negatively? Do artists that live in the country normally paint landscapes? Are abstract painters mostly found in the cities? Where do you live and how has your environment affected your art?
This is my fortieth painting of my #paint52 challenge, medium Atelier Interactive Acrylic on vellum, measures 10" x 12" price $300 plus Shipping and Handling.
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
Is Your Ladder Against the Wrong Wall?
Joseph Campbell says, “The definition of middle age is, when you are at the top of the ladder, and found that it's against the wrong wall”. How can we prevent this from happening?
Throughout my life I wanted to become an artist. Twenty years old, waiting in line to sign up for Speech Pathology and Audiology classes, I already knew that I didn’t want to follow this path. There were many reasons why I didn’t major in art, one it wasn’t practical, two I thought I had to have a special gift, three I had to support myself in the future.
Middle age started young for me, my ladder was on the wrong wall and my dreams were never acknowledged. It took having a child with Down’s syndrome at 38 years old, to finally give myself permission to follow my dream. Having my son Blake was definitely a wake up call, I realized that I wasn’t getting any younger and needed to make this leap of faith.
Sometimes, you don’t need much to motivate you, when you reach this point. This wasn’t a hobby I was attempting, but something I took very seriously. I asked a good artist friend of mine, where to go from here, “What should I do? Do I have potential? Was I too old? Would people think I was crazy?’ I had the dream, but no idea where to start. She was a great support. She told me it was never too late, (my biggest fear, as well as being called crazy) and suggested I take a class at my local junior college. This one little acknowledgement and permission was enough to take me on my journey. We all need this support when we are moving that ladder. The ladder is a lot easier to move with two people.
I’ll end this with another favorite quote of mine of Joseph Campbell’s, said so eloquently.
“All the time. It is miraculous. I even have a superstition that has grown on me as a result of invisible hands coming all the time - namely, that if you do follow your bliss you put yourself on a kind of track that has been there all the while, waiting for you, and the life that you ought to be living is the one you are living. When you can see that, you begin to meet people who are in your field of bliss, and they open doors to you. I say, follow your bliss and don't be afraid, and doors will open where you didn't know they were going to be.”
This is my thirty-ninth painting of my #paint52 challenge, medium Atelier Interactive Acrylic on vellum, measures 8" X 8", Title-"Gateway to Chinatown", price $175 plus Shipping and Handling. SOLD
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!