I don't have any photos of violets - so rare these days - but last year at Wisley I did see this bed of thousands of pansies (close relations of the viola/violet) set out in broad stripes of colour which include shades of violet and purple and lilac.
When I was writing Ruby Violet, Lime, my children's book on colour, I found the purple/violet pages the most difficult. There isn't so much violet around in the natural world - mostly in flowers, vegetables and plants, and we have few, often complicated, associations with the colour (poison/royalty/emperors/faith/mourning/bravery) and tend not to use it in our interiors on a large scale.
But I really like violet and enjoy seeing it. It stands out, adds contrast, subverts classic combinations, and makes your eyes work. It's brilliant with lime green, orange, yellow, cerise, and white. It is wonderful in spring and early summer gardens in lupins, hyacinths, tulips, alliums, adding a dash of strangeness and sharpness next to all the usual colour combinations.
We have a room painted violet-lilac which surprises some people,
and I often use violet and shades of purple in quilts (quilting fabric designers are not afraid of violet).
hyacinths this spring
Strangely, all the best-known Violets I have come across, apart from Violet Carson/Ena Sharples, are daughters in children's stories: Violet Beauregarde (Charlie and the Chocolate Factory), Violet Parr (The Incredibles), Violet Gray (Peanuts), Violet Baudelaire (A Series of Unfortunate Events), and my favourite, Violet Elizabeth Bott (Just William). All have character issues, which confirms again that violet has quite an interesting subtext. (It's also only a 'n' away from violent, which may or may not have something to do with how we feel about it.)
Violet has always been one of the most intriguing and complex colours for me. Slightly off the scale, thought-provoking, and always good in a mix.