The book, IN NATURAL LIGHT- PAINTINGS BY VALOY EATON, was published in 2003. The book is a 126 page chronological history, containing over 195 color images of Valoy's paintings since 1969. The first edition is sold out. A second edition printing is being considered.

Following are a few pages from the book:

Forword By Senator Orrin G. Hatch

Valoy Eaton's incredible body of work - the deep brush lines, the marvelous use of light, the bright colors and hues, the impressive landscape vistas, and every so often the inspired use of children and women, neighbors, friends, and loved ones - all evoke a special beauty that celebrates America at its best.

I call the Eaton paintings "realistic impressionism." There is an impressionistic quality to Valoy's work that evokes an image few will ever forget. His rich palette and his genius use of hallmark themes-landscapes, hollyhocks, streams, luscious sage brush, horses, farm animals, birds, rivers, and mountains-all are so magnificent they render words insufficient to describe their luminous beauty.

And of course, Valoy is a master of light. His magical depiction of light dancing across mountains, trees, shrubs, rivers, streams, snow vistas, and pioneer scenes is not easily forgotten. To view Valoy's paintings gives one a perspective of just how much he loves the west and the beauties of nature. He has a genius for finding just the right kind of lighting and scenery. Whether it is a landscape of the shallow pastoral Susquehanna River in Northern Pennsylvania, a portrait of my wife, Elaine, picking raspberries in the garden, or a painting of cattle on the range being herded by cowboys, the observer experiences a feeling of joy and peace at the same time. Valoy is a person who looks at life and responds. He has a pure appreciation of people and light.

It is for these reasons that I probably own more Valoy Eaton paintings than anyone alive, including Valoy and Ellie Eaton, his wife. I started collecting them when Valoy was teaching art and coaching basketball in high school. I have followed his and Ellie's careers for many years and have reveled in the acclaim he has achieved by other collectors, museums, art contests, including the Cowboy Hall of Fame, by various collectors, and by those who love fine art and recognize Valoy's special genius.

Valoy's pioneer paintings are already classics. They show the vibrancy of the early builders of our nation, particularly the west. As we gaze, with appreciation, one can almost imagine the strength, courage, fortitude, faith, and decency of the pioneers who settled the west. His huge painting of my great grandfather, Jeremiah Hatch, and his son Josephus, my grandfather, crossing over Ashley Creek (pg. 97), hangs in my Senate office in the Hart building directly over my desk. Leaders from all over the world have mentioned how truly remarkable it is.

One of my favorite paintings is the one he painted for me of five old overall-dressed ranchers standing there with the backsides of their four horses showing (pg. 31). It is American classic. I call it the "Five Republicans and four Democrats." It is a small, but significant painting. Virtually everyone who visits my Salt Lake City office loves it.

Valoy's paintings are in great demand. He still takes commissions, but loves to do his own subjects and themes while roaming over our country's beautiful and spectacular terrain. He ranks among the finest artists of our time and, I believe, his work will be accepted as magnificent for centuries to come.

Talents like Valoy's point us to the existence of God and his work. And only God could have inspired and magnified his earthly talent enabling him to create some of the most beautiful landscapes ever created. This book is the first opportunity for many to become familiar with his outstanding work, and also to gaze on a special collection of some of his most beautiful and refined work-the artwork (25 precious and august paintings) he voluntarily painted and gave to the Church of Jesus Christ of Latter-day Saints for its temples. Valoy is so respected, he was able to obtain special permission to display, in this book, these magnificent paintings, which are not available to the general public, because of their use in the sacred temples.

So today, we are all fortunate to have this amazing compilation of Valoy's work. The joy Valoy's work has brought to my wife, Elaine, and me and countless others is inexpressible, and I hope each of you will share in that bounty as you savor the many riches he offers.

Orrin G. Hatch
U.S. Senator, State of Utah, 2002

Introduction Page XXVii - By Vern G. Swanson, Ph.D Director, Springville Museum of Art           back to top

charity auctions and fund-raisers. He has also volunteered to be the coach of youth baseball and basketball teams throughout the years.
        A great honor was bestowed in the early 1980s, when the Granite School District began to make an annual art award called "The VaLoy Eaton Scholarship." He had taught in the Granite District for ten years and left a lasting impression. Then, in the 1990s, Zions Bank in Vernal began giving the Eaton Art Scholarship for Uintah High, where he received the "Distinguished Alumnus Award." His portrait now hangs in the school alongside other honorees.35
        An article on VaLoy appeared in 1981 in Southwest Art magazine. Eaton asked Vern Swanson to write it because, as he said humorously, "You're the only person I know who understands art, who likes my paintings!" This was not exactly true, but it was flattering to Swanson, who went on to write another six articles on different artists for Southwest Art. The magazine article was followed by a large retrospective exhibition at the Springville Museum of Art in October 1982. The show, which was cosponsored by Senator Orrin and Elaine Hatch, included seventy-three carefully selected paintings.
        Reviewing the exhibition, George Dibble, art editor for the Salt Lake Tribune, pronounced VaLoy Eaton to be the best landscapist now working in the state. This watershed exhibition at the artist's mid-career was a period of personal reassessment. It strengthened his determination not to "potboil" or paint "second, third or fourth variants" of his best work.
        He resolved to keep pushing for original, strong, and sensitive visual statements in each piece he painted. The vigor of Eaton's work during the last score of years was based on the decision in 1982 to please his own internal

VaLoy, Ellie, and Vern
at the Springville Museum of Art, 1982

Page 14: "Roadside Cottonwood" 1976           back to top

Page 34: "Warm Day - Indian Canyon" 1982           back to top

Page 39: "At Sundown" 1984 (Silver Medal Winner, National Academy of Western Art)           back to top

Page 58: "Young Cottonwoods" 1986, (Step-by-step Demo...See Finished Painting below)           back to top

Page 59: "Young Cottonwoods" 1986, (Gold Medal Winner, National Academy of Western Art)           back to top

Page 96: "Jeremiah Hatch and the Utes" 1996           back to top

Page 97: "Jeremiah and Joe Hatch on Ashley Creek" 1996           back to top

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