Tor House in Carmel-by-the-Sea, California, is a historic stone home built by poet Robinson Jeffers and his wife Una beginning in 1919 on a windswept promontory at Carmel Point. Using granite boulders hauled from the nearby shore, Jeffers, working as an apprentice stonemason constructed the original cottage, completed around 1924, and later Hawk Tower, a Celtic-inspired structure overlooking the Pacific. Named for the craggy “tor” (knoll) on which it stands, the house served as both a family refuge and the place where Jeffers composed nearly all his major poetic works, inspired by the rugged coastal landscape.
Yesterday (Sunday) I was invited, along with three other Monterey Bay Plein Air Artist members to paint while the Tor House Foundation held a garden party. Although having driven by the Tor House many times but never been inside, it was quite a treat to participate in the event!
Here’s a few pictures of the Tor House…
We arrived a little before the party started, and after looking over all the property, we all settled in a spot to paint. Some of my fellow artists painting…
I am mostly a scenery type artist, but also wanted to include a bit of the old stone buildings, so picked a spot out of the way showing just the edge of the house and a large boulder. It also had a view of the Pacific Ocean with Point Lobos in the far background…perfect! A few shots of me painting. (Some photos complimentary of Jackie Bleisch.)
The party was well attended and quite lively with bagpipes, chamber orchestra, and other delights! Click on the videos to enjoy the music…
While I was busy laying paint to canvas, one of the docents came over and told me I was painting a historic rock. The Thuban Rock is the massive granite cornerstone of the house that Jeffers incorporated deep into the structure while building his home. Jeffers addressed this ancient stone in his poem “To the Rock That Will Be a Cornerstone of the House,” Long before Jeffers built Tor House, however, this site is believed to have been a sacred place for Native American peoples of the region.
The grey morning turned into nice sunshine, and I used some artistic license to make the lighting a little more dramatic and moved the bushes a bit.
After about three hours of painting, it was turning out rather well, so I stopped. Generally these plein air pieces reach a point that if you keep going, you may start to ruin the freshness of the moment. It was also getting windy and cold! I had a number of inquiries about purchasing the piece all afternoon as it was developing. Coming prepared, I framed it, and it was purchased by one of the docents of the Foundation!
I finally pulled it off and the secret’s out! I’ve dreamed for years of painting from this spot, simply because it’s so wildly unique. As far as I know, no one has ever set up an easel here before. In fact, only a handful of people have even seen this view, let alone tried to capture it on canvas. It took years of training and preparation for this mid 70 year old to accomplish it, but I have finally achieved it!
Take a moment to watch the short video and follow the adventure. Be sure to turn the sound up and watch to the end!
All of a sudden, I am in two upcoming shows, one virtual, and one in Downtown Old Monterey. The first is in the California Art Club “From Sea to Sierra” virtual show, March 23 through June 29, 2026. The second is at the Casa Gutierrez in downtown Monterey, a State Historic location, December 12, 2025 – May 2026. More details to follow.
Dunes View (Monterey), 15×30, oil on canvasThe Bell, 9×12, oil on panel, plein air
Searching for the perfect, one-of-a-kind holiday gift that will be treasured for a lifetime? These charming little paintings are an unforgettable choice for anyone on your list! I’m also offering beautifully crafted notecards and art books at unbeatable prices. It’s my biggest holiday sale ever, with discounts of up to 70% off! Most pieces are unframed originals, but if a frame is shown, it’s yours too. If you are interested, just email me at donald@donaldneff.com http://www.donaldneff.com/blog/holiday-sale/
Having spent my adolescent and twenties in East Texas, I am always enchanted by the beautiful skies and clouds when returning for a visit. There’s something timeless and dramatic about those towering thunderheads massive, powerful clouds that roll in with a deep rumble, drench the earth in a quick burst of rain, and then move on as if nothing happened. On calmer days, great billowing cumulus clouds drift lazily across the sky, unhurried and magnificent, like giant ships sailing through an endless blue sea.
In my younger days working outside in the the relentless Texas summer heat, the cloudbursts would bring a short refreshing cool break to the heat, but in an hour or two there would be no evidence of the downpour.
Here at my current home in the Monterey Bay area, the skies are a little less dramatic. Being close to the Pacific, the skies are usually a non-event. The exception is just after a fall/winter storm, when we get a glimpse of that same grandeur I remember from growing up in Texas.
We had a storm front come through the other day, and during our usual walk among the Marina Dunes, the big cumulus clouds were rolling by. I couldn’t resist snapping a few photos for later study. One photo in particular was good, so I submitted it to the local newspaper Monterey Weekly. To my delight, the very next day it appeared in their daily eNewsletter as the “Photo of the Day.” You can see it here.
Well, I just had to paint the scene. Here are a few shots showing the painting as it came together.
Here is the finished piece. I did take some artistic license, heightening the clouds for a bit more drama. As always, I may tweak it here and there in the future, but for now, I’m calling it done.
Many of you know I recently traveled to Sapporo, Japan, for the very special occasion of my son’s wedding. I won’t turn this into a full travelogue, but of course, I couldn’t resist packing my acrylic paints. Between family gatherings, wedding festivities, and endless toasts, my paint kit stayed in the hotel until the final days of our visit when most everyone had left and I could finally sneak away to paint.
Our hotel, by design, was adjacent to Nakajima Park, which is one of my favorite spots in Sapporo. I’ve painted there a number of times over the years. Usually, we visit in the spring when cherry blossoms turn the park into a pink paradise. This time, though, it was early autumn. Only a few trees were beginning to show a slight color and most of the landscape still a sea of green. Paintings with mostly green are a challenge for artists, as it is difficult to bring out the variations of color to make a pleasing piece.
I set up in the Japanese Garden and started a piece, but after about half an hour, I was tempted to give up. The composition felt flat and dull. Still, I decided to push through. After over an hour or so, the painting started to come together—still unfinished, but promising. I reluctantly packed up and headed back for more family activities. Here are a few photos from that day.
The next day was rainy and blustery, so couldn’t go out to paint, but the day after that was nicer. After another hour plus session, I finally think I got a keeper. Below are some photos.
Here is a quick snapshot of the painting.
BTW, in my recent studies on how AI can improve your paintings, I asked ChatGPT for several examples on how it would paint the scene. I think I like mine better!
My last post was about unexpectedly discovering that AI (Artificial Intelligence) might be able to help with your oil paintings. Could it really step into the role of an art instructor? I decided to pursue this further, and subsequently uploaded some of my paintings to ChatGPT curious to see what it would come up with. I chose one piece I’ve always been happy with, along with two that never quite sat right with me. To my surprise, not only did it critique them, but it also offered to generate revised versions with its suggested changes!
The first painting is one of the Clarke Bridge in Yosemite National Park right after a snowstorm. I have always liked the piece, and did not plan on changing it. After ChatGPT’s analysis, it did give a few pointers on what might be improved. I did not like the image it generated (it must see a lot of Kinkade paintings!), but possibly the suggestion to soften the background is warranted. It also suggested adding more sunlight, but that defeats the purpose of the piece, to depict Yosemite during a misty snowy day.
BTW, I asked another AI model, Google AI, about the same painting. Its critique was somewhat similar, however due to some bug, it produced, but could not show me the new AI modified painting.
Here are the two versions: the original on the left, the AI interpretation on the right.
Early Snow, Yosemite, 15×30, oil on canvas
All the ChatGPT conversations are below, which are quite lengthy.
The second painting came from a trip to Germany a couple of years back—Hohenschwangau Castle. I’ve never been fully satisfied with the background mountains, even after repainting them three times. The AI suggested softening them, which isn’t a major change, but maybe it’s a step in the right direction. I did like a few of the suggested changes in the middle ground in that the trees around the castle are a little too bright, but overall AI gave it a darker feel. It then asked if I wanted a more dramatic version, and of course, go ahead! It then gave me another version, which although quite dramatic doesn’t appeal to me.
Here are the paintings, the original on the left, then the AI two versions.
The third piece is of Crater Lake, painted about a decade ago. I’ve always felt the distant cliffs could use some softening, lightening, and graying to push them farther back. ChatGPT had some of the same recommendations, though I wasn’t a fan of its final rendering. It was maybe too dark for my tastes. Still, it confirmed what I already suspected needed doing.
Original on the left, AI version on the right.
“Crater Lake Overlook”, 28×22, oil on canvas
While I don’t think AI as yet can replace a personal professional critique, it can help. If you are all alone in the studio and stuck on a painting, perhaps it can give you a nudge in the right direction.
Stay tuned for more adventures in AI!
ChatGPT Conversations
Clarke Bridge
how would you improve this painting?
ChatGPT said:
This is already a lovely painting — the arching stone bridge, soft winter light, and the play of warm and cool tones make it very inviting. That said, here are some ways it could be enhanced while keeping its character intact:
1. Depth & Atmosphere
Add a bit more aerial perspective: the far bank and distant trees could be softened with cooler, lighter tones to push them further back and make the bridge pop forward.
Light mist or subtle snowfall in the background could enhance the wintry mood and depth.
2. Water Detail & Movement
Increase variation in the water’s surface — some sharper highlights in the foreground water could suggest sparkle and movement.
Slightly more reflection of the bridge stones in the water could unify the scene.
3. Snow Highlights & Texture
Enhance the sunlight’s influence on snow — warmer, creamy highlights in sunlit areas and slightly bluer shadows in shaded snow could add dimension.
Introduce more variety in snow texture — some soft, powdery patches, some crisp edges where snow has just fallen.
4. Foreground Interest
Add a few more warm-hued dried grasses or twigs in the lower left to create a color bridge between the warm stones and cool snow.
Consider one or two more prominent rocks in the water with sharper edges to lead the viewer’s eye toward the bridge.
5. Compositional Flow
The left tree slightly blocks the bridge. You could thin or shift a branch to reveal a bit more of the stone arch for balance.
A faint pathway or footprints in the snow near one of the bridge entrances could add a storytelling element.
If you’d like, I could mock up a quick digital overlay showing what these adjustments might look like so you can visualize the changes before painting.
You said:
OK
Hohenschwangau Castle
How would you improve this painting? after discussing that, make a jpg of the improvements
ChatGPT said:
This painting is already beautiful—great sense of depth, light, and atmosphere. The snow-capped peaks, shimmering water, and the castle all stand out wonderfully. But if the goal is refinement, here are a few improvements that could elevate it further:
Suggestions for Improvement
Atmospheric Perspective
The mountains are already receding nicely into the distance, but you could push it further by softening the edges and slightly cooling/desaturating the farthest peaks. This will increase depth and realism.
Water Highlights
The lake has a nice shimmer, but it might benefit from subtle gradations of blue and a few horizontal strokes of lighter tones to give a sense of rippling reflections.
Castle Detail
The castle could pop more with slightly sharper highlights on the sunlit walls and warmer reflected light in the shaded areas. This will make it the true focal point.
Foreground Interest
The foreground is richly painted, but adding a bit more texture (rocks, flowers, or small branches) would give it extra life and balance the detail of the middle ground.
Sky Variation
The sky could include subtle color transitions—perhaps a touch more warmth near the horizon or soft cloud forms—to enhance atmosphere and mood.
Color Harmony
Introducing a few echoing colors (e.g., some of the castle’s warm yellows reflected lightly in the foliage or the rooftops reflecting in the lake) can unify the whole composition.
? Would you like me to make a subtle refinement version (keeping it realistic and atmospheric), or would you prefer a more dramatic enhancement (like intensified colors, stronger contrast, more romantic lighting)?
Once you choose, I’ll generate a new JPG with the improvements.
Crater Lake
how would you improve this painting? also give me a sample jpg of what an improved painting would look like.
ChatGPT said:
This is a beautiful landscape painting—the depth and atmosphere are very well handled. If we’re thinking about improvements, here are a few artistic suggestions that might elevate it further:
Possible Improvements
Atmospheric Perspective
The distant mountains could be softened with slightly cooler, lighter hues to push them back further and increase depth.
Water Surface Interest
Adding a few gentle ripples, reflections of trees, or light sparkle on the lake would enhance realism and contrast the smooth water with the textured land.
Foreground Emphasis
Introducing more detail, brighter highlights, or subtle color accents (e.g., warm tones in rocks, flowers, or lichen) in the foreground would give the eye a focal anchor.
Color Harmony
Some of the greens in the trees could be varied—mixing cooler pine greens with warmer sunlit foliage—to avoid uniformity.
Lighting Drama
Enhancing the shadows and highlights, especially where the sun hits rocks and trees, would add drama and depth. A more defined light direction can also guide the viewer’s eye through the scene.
? If you’d like, I can create a modified sample JPG showing how these adjustments might look (softer mountains, more water reflections, enhanced foreground detail, and richer lighting).
Do you want me to go ahead and generate a visual version of these improvements?
The day started with check-in and setup around 8:30 a.m., where we had our canvases stamped and pulled our painting locations from a hat. For the third time, I randomly drew the Casa de Oro Garden! When asked if I wanted to swap for a different spot, I happily declined. The garden offers plenty of variety—and let’s be honest, having a nearby parking garage and restroom is great when painting downtown Monterey!
Here we are at check-in–
After check-in, the artists fanned out across historic Old Monterey, setting up at charming historic old adobes, lush gardens, and bustling street scenes. We had until 3 p.m. to create at least one painting for the afternoon exhibit during the Block Party.
I chose to paint the iconic bell at the Casa de Oro Garden—a replica of the 1906 Mission Bells that once lined El Camino Real. These were cast from the original molds, and the bell’s frame, draped in wisteria and glowing in the morning light, made for an irresistible subject.
By noon I was about 80% finished and took a lunch break in my car and a mini rest. After framing the piece, I took it back to the easel and added a few final touches.
Here are a few snapshots of the show–
To my surprise and delight, I was awarded Second Place—First Place went to the very talented Debra Nichols, and it was well deserved! Here’s a shot of our pieces–
Here’s the finished painting—it feels complete, but I’ll let it sit for a bit. Maybe a touch more sunlight in the foreground… or maybe not. It’s definitely a keeper!
All great traditional landscape artists paint from nature. Painting on location, or plein air painting, captures the true colors, light, and atmosphere of a scene in a way that photographs often distort. Cameras can alter color values, compress depth, and lose subtle details in shadows and highlights, whereas painting from life allows the artist to observe and interpret the full range of natural light and color relationships. Additionally, being present in the environment engages all the senses, leading to a more dynamic and emotionally resonant representation. While I frequently paint en plein air, only on rare occasions does a field study captivate me so completely that it inspires a studio painting nearly identical to the original.
One such moment happened last January when I joined the Monterey Bay Plein Air Painters for a special outing to Fort Ord Dunes State Park, a breathtaking stretch of coastline not far from my home. You can read about that adventure here. I’ve painted the dunes around Marina, CA, many times before, but this time, park rangers led us to a remote, rarely accessed location. I often ride my eBike through this area but it’s just a little too far to walk. I produced a decent piece, which was a keeper, and loved the view and composition of the painting. Here are just a few snapshots from that day…
This is the original plein air piece, with hardly a smidgen of touchup in the studio.
Working the Dunes, 8×16, oil on board, plein air
I liked the composition and scene so much, I spent the last week doing a larger piece in the studio very true to the original on location piece…
Dunes Vista, 15×30, oil on canvas
As usual, I might touch it up a bit, but seems finished to me!
Here is the original plein air painting on top of the studio piece in a single snapshot. (I blocked out the extraneous parts of the photograph.)
MBPAPA and the State Park staff are exploring ways to showcase this restoration project as a shining example for other State Parks. Proposed exhibition venues include Asilomar State Park Gallery, CSUMB, Monterey Airport, and even state office buildings in San Jose, San Francisco, and Sacramento. Stay tuned—this collaboration could inspire even more creative and environmental synergy
