KATHLEEN ROBBINS
2 DAY PAINTING WORKSHOP
"Abstracting the Landscape"
October 21 -22, 2025
KATHLEEN ROBBINS
2 DAY PAINTING WORKSHOP
(Abstacting the Landscape)
Community Congregational Church, 44 Post Rd. Greenland, NH. (Parish House)
OCTOBER 21 -22, 2025. (10-4 daily).
$300 (Limit 15)
Register: (603) 819-9100
Email: [email protected]
Join us for a two day, indoor intensive painting workshop with a focus on abstracting the landscape, with American Artist, Kathleen Robbins. Expressive color, bold brush work, dynamic design and personal vision will be amongst the many topics discussed and demonstrated.
Kathleen will share how she sees and translates nature on canvas, covering a multitude of topics from tools and materials, process, values, color, design, abstracting nature and infusing your expression into the process.
Kathleen will first take us to an outdoor location where she will lecture, demonstrate and provide students with easel assistance while you craft the foundation of a painting that we will later take into studio. The second day, we will work indoors with the tutelage of Kathleens philosophy of abstracting the landscape and infusing personal poetry into our paintings.
Call or email Todd to Register: (603) 819-9100
Email: [email protected]
* Credit cards, Venmo, Pay Pal, checks, or cash for teachers pet.
* or Mail a deposit check for $100 made out to Todd Bonita to:
Todd Bonita
28 McShane Ave
Greenland, NH 03840
Please write, "Kathleen Robbins workshop" in the memo on the check.
2 DAY PAINTING WORKSHOP
(Abstacting the Landscape)
Community Congregational Church, 44 Post Rd. Greenland, NH. (Parish House)
OCTOBER 21 -22, 2025. (10-4 daily).
$300 (Limit 15)
Register: (603) 819-9100
Email: [email protected]
Join us for a two day, indoor intensive painting workshop with a focus on abstracting the landscape, with American Artist, Kathleen Robbins. Expressive color, bold brush work, dynamic design and personal vision will be amongst the many topics discussed and demonstrated.
Kathleen will share how she sees and translates nature on canvas, covering a multitude of topics from tools and materials, process, values, color, design, abstracting nature and infusing your expression into the process.
Kathleen will first take us to an outdoor location where she will lecture, demonstrate and provide students with easel assistance while you craft the foundation of a painting that we will later take into studio. The second day, we will work indoors with the tutelage of Kathleens philosophy of abstracting the landscape and infusing personal poetry into our paintings.
Call or email Todd to Register: (603) 819-9100
Email: [email protected]
* Credit cards, Venmo, Pay Pal, checks, or cash for teachers pet.
* or Mail a deposit check for $100 made out to Todd Bonita to:
Todd Bonita
28 McShane Ave
Greenland, NH 03840
Please write, "Kathleen Robbins workshop" in the memo on the check.
SUPPLY LIST
KATHLEEN ROBBINS ART SUPPLY LIST:
I have to admit I am a bit unconventional.
But here is what I use.
A black metal folding easel. It's sturdy enough to hold a large painting but to keep it from getting caught by the wind I use a bungee cord and a gallon of water that hangs in the middle of the tripod.
I also use a small folding table. The one I picked up at Walmart many years ago is 20x48. But they should have something that would work.
For oil paint:
Bring what you like but I would recommend:
One Blue (ultramarine Blue)
One Red (cad red light)
One Yellow (cad yellow light)
White
Black (ivory black)
We will be focusing on mixing color and discussing how a limited palette will help you understand how color works and compliments each other.
Our motto of the day will be to mix our palette colors slowly, and paint quickly :)
I use a paper palette. And I have a large 18x24 size. I use 4 large drawing paper clips to hold the paper palette together so that the wind does not cause issues.
You do not need it to be this large. Any size will be fine.
You can always tape two pieces together to a piece of cardboard or a drawing board. Use your creativity.
Please bring a variety of brushes and palette knives.
Please have a couple of large flat brushes.
A few canvases, nothing too large.
If you would like to work on paper that is ok as well.
Oh... bring an old credit card or some other tool to scrape with.
A sketch book. charcoal or graphite pencils.
Container for turps, medium if you use one, rags, trash bag for clean up.
I have to admit I am a bit unconventional.
But here is what I use.
A black metal folding easel. It's sturdy enough to hold a large painting but to keep it from getting caught by the wind I use a bungee cord and a gallon of water that hangs in the middle of the tripod.
I also use a small folding table. The one I picked up at Walmart many years ago is 20x48. But they should have something that would work.
For oil paint:
Bring what you like but I would recommend:
One Blue (ultramarine Blue)
One Red (cad red light)
One Yellow (cad yellow light)
White
Black (ivory black)
We will be focusing on mixing color and discussing how a limited palette will help you understand how color works and compliments each other.
Our motto of the day will be to mix our palette colors slowly, and paint quickly :)
I use a paper palette. And I have a large 18x24 size. I use 4 large drawing paper clips to hold the paper palette together so that the wind does not cause issues.
You do not need it to be this large. Any size will be fine.
You can always tape two pieces together to a piece of cardboard or a drawing board. Use your creativity.
Please bring a variety of brushes and palette knives.
Please have a couple of large flat brushes.
A few canvases, nothing too large.
If you would like to work on paper that is ok as well.
Oh... bring an old credit card or some other tool to scrape with.
A sketch book. charcoal or graphite pencils.
Container for turps, medium if you use one, rags, trash bag for clean up.
KATHLEEN ROBBINS PAINTINGS
KATHLEEN ROBBINS
Kathleen Robbins
Earned her MFA at Massachusetts College of Art where she later became a faculty member. Many of her landscapes reflect the seacoast area of Maine and New Hampshire. She has worked in art therapy at a local hospital over the past decade. Her inspiration comes from many sources including still life and landscape. “The process of building the painting is critical to my work. Gesture, color, line and surface all play with the space to create a distinct movement between representation and semi abstraction.” What drives her art is the initial response to a moment in time. The surface is often calm and time is suspended, with the ever-present tension on the verge of movement and change. How one object or shape affects the other is a continuing source of fascination for her. Layers are built upon or removed to create the final piece, as the painting takes on a life of its own. “You’ll find my work straddles the line between abstraction and figuration. Working directly from life I distill the elements of the landscape to an economy of mark making and random shorthand.” The loose abstract quality of the paint conveys the mood and sense of place. By stripping away explicit details and embracing the fluidity of abstraction, the work becomes a visual dialogue between the physical world and the emotional interpretation of the viewer.
Earned her MFA at Massachusetts College of Art where she later became a faculty member. Many of her landscapes reflect the seacoast area of Maine and New Hampshire. She has worked in art therapy at a local hospital over the past decade. Her inspiration comes from many sources including still life and landscape. “The process of building the painting is critical to my work. Gesture, color, line and surface all play with the space to create a distinct movement between representation and semi abstraction.” What drives her art is the initial response to a moment in time. The surface is often calm and time is suspended, with the ever-present tension on the verge of movement and change. How one object or shape affects the other is a continuing source of fascination for her. Layers are built upon or removed to create the final piece, as the painting takes on a life of its own. “You’ll find my work straddles the line between abstraction and figuration. Working directly from life I distill the elements of the landscape to an economy of mark making and random shorthand.” The loose abstract quality of the paint conveys the mood and sense of place. By stripping away explicit details and embracing the fluidity of abstraction, the work becomes a visual dialogue between the physical world and the emotional interpretation of the viewer.