WHITE MOUNTAINS, NH
(3 Day Plein air workshop with Tom Hughes).
Peak Foliage week in the White Mountains. Tamworth, NH
October 13 -15, 2025
"Artist painting in the White Mountains" by Winslow Homer.
WHITE MOUNTAINS, NH
3 Day Plein air workshop w/Tom Hughes)
October 13 - 15, 2025
The Preserve at Chocorua,Tamworth, NH (Limit 16)
* Workshop Only: $450
* All Inclusive Packages with accommodations and all meals at the Inn and / or cottage upgrade sold seperate. See details below).
Breath fresh fall air in the foothills of the White Mountains on our three day, outdoor painting get away in Tamworth, New Hampshire. We will gather with our paint boxes at Mount Chocorua, nearby historic farms and our Inn, on a 26 acre farmland preserve. We will paint daily from life in the literal footsteps of Thomas Cole, Albert Bierstadt, John Frederick Kensett, Jasper Francis Cropsey, Sanford Gifford and many others from the 19th century, historic White Mountain School.
Tom will lecture, demonstrate and simplify the outdoor painting process as we capture the atmosphere and sensations of the natural American landscape together as a group. Each day, Tom will share his knowledge and perspective on outdoor painting and include side-by-side easel critique and assistance. This offering includes an optional package with meals and lodging included in the overall price so your only concern will be to paint and enjoy the natural setting. The Preserve offers an excellent respite from everyday life and has an exceptional chef. An on site, heated barn offers us an alternative, indoor painting studio. There is also a fire pit with Adirondack chairs, perfect for a fall evening gathering to talk shop and learn about the history of the White mountain artist.
REGISTER:
Step 1: Reserve workshop only: $450
Register: Call Todd Bonita: (603) 819-9100
Email: [email protected]
* (Deposit of $200 to hold your space, Balance collected at workshop or mailed earlier if you wish)
* Checks made out to Todd Bonita and mailed to:
Todd Bonita,
28 McShane Ave,
Greenland, NH 03840
Please write: "Tom Hughes White Mountain workshop" in the memo on the check).
* Credit Cards or Pay Pay add 4%
* Cash for teachers pet.
* Venmo: @Todd-Bonita
Step 2: Reserve Accommodations:
All Inclusive accommodation Packages: (Contact Mary ar the Preserve at Chocorua: (603) 323 - 8333
* 2 Nights accommodations with private bath in the well appointed, cozy INN.
* Optional private or shared cozy cottage upgrade.
* All meals, snacks, drinks
* Spirits / cocktail evening
* Non-workshop guest / spouse welcome.
* Contact Mary at the Preserve for details, bookings reservations ; (603) 323 - 8333
*You do not have to stay at the Preserve to attend the workshop but we highly reccommend.
SCROLL BELOW for
* Accommodations
* Itinerary
* Supply list
* Frequently Asked Questions
3 Day Plein air workshop w/Tom Hughes)
October 13 - 15, 2025
The Preserve at Chocorua,Tamworth, NH (Limit 16)
* Workshop Only: $450
* All Inclusive Packages with accommodations and all meals at the Inn and / or cottage upgrade sold seperate. See details below).
Breath fresh fall air in the foothills of the White Mountains on our three day, outdoor painting get away in Tamworth, New Hampshire. We will gather with our paint boxes at Mount Chocorua, nearby historic farms and our Inn, on a 26 acre farmland preserve. We will paint daily from life in the literal footsteps of Thomas Cole, Albert Bierstadt, John Frederick Kensett, Jasper Francis Cropsey, Sanford Gifford and many others from the 19th century, historic White Mountain School.
Tom will lecture, demonstrate and simplify the outdoor painting process as we capture the atmosphere and sensations of the natural American landscape together as a group. Each day, Tom will share his knowledge and perspective on outdoor painting and include side-by-side easel critique and assistance. This offering includes an optional package with meals and lodging included in the overall price so your only concern will be to paint and enjoy the natural setting. The Preserve offers an excellent respite from everyday life and has an exceptional chef. An on site, heated barn offers us an alternative, indoor painting studio. There is also a fire pit with Adirondack chairs, perfect for a fall evening gathering to talk shop and learn about the history of the White mountain artist.
REGISTER:
Step 1: Reserve workshop only: $450
Register: Call Todd Bonita: (603) 819-9100
Email: [email protected]
* (Deposit of $200 to hold your space, Balance collected at workshop or mailed earlier if you wish)
* Checks made out to Todd Bonita and mailed to:
Todd Bonita,
28 McShane Ave,
Greenland, NH 03840
Please write: "Tom Hughes White Mountain workshop" in the memo on the check).
* Credit Cards or Pay Pay add 4%
* Cash for teachers pet.
* Venmo: @Todd-Bonita
Step 2: Reserve Accommodations:
All Inclusive accommodation Packages: (Contact Mary ar the Preserve at Chocorua: (603) 323 - 8333
* 2 Nights accommodations with private bath in the well appointed, cozy INN.
* Optional private or shared cozy cottage upgrade.
* All meals, snacks, drinks
* Spirits / cocktail evening
* Non-workshop guest / spouse welcome.
* Contact Mary at the Preserve for details, bookings reservations ; (603) 323 - 8333
*You do not have to stay at the Preserve to attend the workshop but we highly reccommend.
SCROLL BELOW for
* Accommodations
* Itinerary
* Supply list
* Frequently Asked Questions
ACCOMMODATIONS
The Preserve at Chocorua
a picturesque White Mountain estate tucked away in the historic town of Tamworth, New Hampshire. The Preserve is a unique property that lends itself to taking it easy, letting time slowly drift by as you reflect on the nostalgia of days gone by. The Preserve was among the earliest farms to open its doors and was known as "Hayford's in the Fields" in the 1890's. It is our intent to extend a warm welcome to all those who choose to host their event with us. We hope you enjoy this exquisite property and form everlasting memories as you celebrate your joyous occasion.
Although our historical past runs deep, we have committed to improving our future by promoting green and sustainable events that produce the smallest carbon footprint as possible. Please take a look at all this wonderful estate has to offer.
26 ACRES OF UNTOUCHED NATURAL BEAUTY. EACH SEASON WITH ITS OWN UNIQUE CHARACTER. "OFFER YOUR FAMILY & FRIENDS A RESPITE FROM EVERYDAY LIFE WITH OUR GRACIOUS & HISTORIC SETTING"
The Barn - Accommodates 225+ guests with a dance floor. Heated & air conditioned. Our new beautifully inspired, state of the art barn had just been completed. A Timber Peg Frame paired with modern light fixtures and finishes make this barn anything but rustic.
The Sap House - A quintessential New England Maple Sugar shack with endless uses. Host an intimate ceremony, stage with stately furniture for a lounge feel, or host an indoor/outdoor cocktail hour. Custom uses for your event are endless.
Ice Pavilion - Being constructed on the foundation of the old "ice house" this pavilion is a covered open air space complete with outdoor hearth stone fireplace, bricked hardscape, and bistro lighting. Pure perfection for your cocktail reception, ceremony, or for sitting fireside late night.
On Property - Two fire pits, Adirondack lounge chairs, croquet, lawn games, BBQ grills, hiking trails, cross country skiing trails, and more.
Sperry Sailcloth Tent - Our custom Sperry Tent is a sight to behold as you drive onto our property. The billowing peaks and our gentle rolling lawns allow for the perfect tented event setting, rain or shine.
Accommodations - Our four cottages, carriage house, and the main farmhouse can accommodate 60 overnight guests.
Parking - On site, easily accessible parking.
Trash & Recycling - Garbage receptacles on site, and we do encourage and assist with recycling.
a picturesque White Mountain estate tucked away in the historic town of Tamworth, New Hampshire. The Preserve is a unique property that lends itself to taking it easy, letting time slowly drift by as you reflect on the nostalgia of days gone by. The Preserve was among the earliest farms to open its doors and was known as "Hayford's in the Fields" in the 1890's. It is our intent to extend a warm welcome to all those who choose to host their event with us. We hope you enjoy this exquisite property and form everlasting memories as you celebrate your joyous occasion.
Although our historical past runs deep, we have committed to improving our future by promoting green and sustainable events that produce the smallest carbon footprint as possible. Please take a look at all this wonderful estate has to offer.
26 ACRES OF UNTOUCHED NATURAL BEAUTY. EACH SEASON WITH ITS OWN UNIQUE CHARACTER. "OFFER YOUR FAMILY & FRIENDS A RESPITE FROM EVERYDAY LIFE WITH OUR GRACIOUS & HISTORIC SETTING"
The Barn - Accommodates 225+ guests with a dance floor. Heated & air conditioned. Our new beautifully inspired, state of the art barn had just been completed. A Timber Peg Frame paired with modern light fixtures and finishes make this barn anything but rustic.
The Sap House - A quintessential New England Maple Sugar shack with endless uses. Host an intimate ceremony, stage with stately furniture for a lounge feel, or host an indoor/outdoor cocktail hour. Custom uses for your event are endless.
Ice Pavilion - Being constructed on the foundation of the old "ice house" this pavilion is a covered open air space complete with outdoor hearth stone fireplace, bricked hardscape, and bistro lighting. Pure perfection for your cocktail reception, ceremony, or for sitting fireside late night.
On Property - Two fire pits, Adirondack lounge chairs, croquet, lawn games, BBQ grills, hiking trails, cross country skiing trails, and more.
Sperry Sailcloth Tent - Our custom Sperry Tent is a sight to behold as you drive onto our property. The billowing peaks and our gentle rolling lawns allow for the perfect tented event setting, rain or shine.
Accommodations - Our four cottages, carriage house, and the main farmhouse can accommodate 60 overnight guests.
Parking - On site, easily accessible parking.
Trash & Recycling - Garbage receptacles on site, and we do encourage and assist with recycling.
ITINERARY
Monday: Arrive at 10am at the Preserve at Chocorua, 88 Philbrook Neighborhood Road, Tamworth, NH.
Keep your overnight bags in your car (Official INN check in is at 3pm). Bring your art supplies and lunch and get acquainted in the barn. Lecture, demo and paint with on the 26 acres at the Preserve, fall trees, grounds, cottages, trails, stone walls, etc, until 430. cocktail hour (6pm -7). Dinner together (Nightly 7pm)
Tuesday: *Optional sunrise photo session at Mt. Chocorua Lake. (2 miles away) Sunrise at 7:45am.
Breakfast daily 730-9. After breakfast make our way to Remick Museum Farm. 58 Cleveland Hill Road, Tamworth.
Lecture, Demo and paint for the day with until 4. cocktail hour (6pm -7). Dinner together.
Wednesday: After breakfast, head out and paint foliage with Tom Hughes. Return for check out and Group critique at 3pm in the barn.
Keep your overnight bags in your car (Official INN check in is at 3pm). Bring your art supplies and lunch and get acquainted in the barn. Lecture, demo and paint with on the 26 acres at the Preserve, fall trees, grounds, cottages, trails, stone walls, etc, until 430. cocktail hour (6pm -7). Dinner together (Nightly 7pm)
Tuesday: *Optional sunrise photo session at Mt. Chocorua Lake. (2 miles away) Sunrise at 7:45am.
Breakfast daily 730-9. After breakfast make our way to Remick Museum Farm. 58 Cleveland Hill Road, Tamworth.
Lecture, Demo and paint for the day with until 4. cocktail hour (6pm -7). Dinner together.
Wednesday: After breakfast, head out and paint foliage with Tom Hughes. Return for check out and Group critique at 3pm in the barn.
SUPPLY LIST
From the studio of Tom Hughes:
These workshops are meant to be intensive hands-on learning experiences: they are a chance to build or reinforce skills and try new things without the pressure of having to make "finished" paintings that you have to sign. Have you always wanted to make painterly pictures with big fat brushstrokes but couldn't quite bring yourself to carry it through? Would you like to be able to draw a bit better, make things look their proper sizes, but can't always figure out why things don't look quite right? Maybe practice mixing colors from a limited palette? We can do any of these things -- I'm there to give you ideas, technical advice, moral support, demonstrations -- whatever insight I've accrued from more than 20 years of full-time painting.
My workshops are pretty informal and open to improvisation. We meet in the morning at the predetermined location, or somewhere convenient to it; lunch is bring-your-own. I do plenty of off-the-cuff individual demos or extended explanations, exhortations, etc, as needed. If everyone likes a particular spot, we'll stay there, and if not, we go. It's lots of painting and usually plenty of fun.
The day starts when we meet at the location at 9:00 am. I will do a demonstration painting on the first day until lunchtime, generally about noon. After that everyone picks a spot and starts painting. I work with attendees individually to help them bring about their own visions in their paintings. The following days incorporate more painting by workshoppers, sometimes on approaches or exercises that I assign. The workshop-day ends at 4 pm.
Supply List
Here is a list of the materials I usually use.
Materials: oil/acrylic
Easel for painting outdoors - examples include:
French easel - I use either one of these or a gloucester easel (particularly good for larger paintings). As far as I can tell, the best french easels currently generally available are made by Mabef.
Soltek easel - a variation on the french box easel; many of my workshop attendees use these.
Pochade box - very compact and convenient option for outdoor painting. Off the top of my head, brands include: Open Box M, EasyL, Guerrilla
A web search will display plenty of other outdoor easels.
Palette - most plein air easels come with a palette. I favor a wooden palette, or, for acrylic, a glass palette.
Rags, paper towels, or kleenex - for wiping brushes, general cleanup.
Something to paint on - stretched canvas, canvas board, primed masonite, primed paper, etc. Panels (masonite or mdf), either commercially prepared or prepared by the artist are what I prefer for smallish paintings. Preparations include: acrylic gesso application, an alkyd or oil ground, canvas glued to the panel. There are other preparations, but these will do fine. Commercially prepared panels are available at any art materials supplier.
Brushes - a selection of a few hog bristle brushes: chiefly a large bright (size 10 or higher), some rounds, filberts, flats - whatever you prefer. I use soft brushes as well, chiefly cheap synthetic watercolor rounds, though they are unnecessary for workshops.
Palette knife - you realize how important this is when you forget to pack it.
Paint thinner - I get what they call "odorless" mineral spirits from the hardware store. Art materials manufacturers make their own versions - touted to be safer, less toxic, etc - Gamsol and Turpenoid are popular varieties. ( If you get it from the hardware store, make sure it's not labelled "green" or "safer"- one of Kleen-Strip's thinners is labelled thus: it seems to contain some percentage of water and will not work for us.) I use the thinner for cleanup; it's perfectly good for use in painting as well, though I go the old-fashioned route and use artists' turpentine in a palette cup for that, chiefly because it feels better to me in the paint. Acrylic painters don't need any thinner but water.
Cans - I clamp (spring clamps) a coffee or soup can on either side of the drawer of my easel; one to hold brushes, the other to hold thinner. I also use spring clamps to hold my palette steady.
Umbrella - an umbrella that you can attach to your easel is very nice; keeps the sun off of your painting and your palette. However, I have yet to get one that can stand up to more than a lively breeze and so usually do without.
Sketchbook and pencil/charcoal - please bring one.
Trash bag - for your used kleenex or paper towels, miscellaneous rubbish.
Paints - I vary my palette from time to time, but these are the usual colors:
White, cadmium yellow lemon or light, cadmium yellow medium or deep, cadmium orange, cadmium red light, quinacridone red, ultramarine blue, phthalo or prussian blue, sap green, raw umber, burnt sienna, yellow ochre.
The core of this palette is a warm and cool of each of the primary colors, plus a few earth colors and convenience colors. I will be going over use of color, relative warm and cool colors, limited palettes, pigments off the beaten path, tonal values, plus anything else we can think of.
Painting medium - we won't really need anything but thinner for oils, though if you are particularly fond of this or that, by all means bring it along. For acrylics, I like to have some gel or gloss medium handy, but don't find it necessary.
I carry paint and brushes in and under the drawer of the french easel. Everything else I put in a small backpack.
These workshops are meant to be intensive hands-on learning experiences: they are a chance to build or reinforce skills and try new things without the pressure of having to make "finished" paintings that you have to sign. Have you always wanted to make painterly pictures with big fat brushstrokes but couldn't quite bring yourself to carry it through? Would you like to be able to draw a bit better, make things look their proper sizes, but can't always figure out why things don't look quite right? Maybe practice mixing colors from a limited palette? We can do any of these things -- I'm there to give you ideas, technical advice, moral support, demonstrations -- whatever insight I've accrued from more than 20 years of full-time painting.
My workshops are pretty informal and open to improvisation. We meet in the morning at the predetermined location, or somewhere convenient to it; lunch is bring-your-own. I do plenty of off-the-cuff individual demos or extended explanations, exhortations, etc, as needed. If everyone likes a particular spot, we'll stay there, and if not, we go. It's lots of painting and usually plenty of fun.
The day starts when we meet at the location at 9:00 am. I will do a demonstration painting on the first day until lunchtime, generally about noon. After that everyone picks a spot and starts painting. I work with attendees individually to help them bring about their own visions in their paintings. The following days incorporate more painting by workshoppers, sometimes on approaches or exercises that I assign. The workshop-day ends at 4 pm.
Supply List
Here is a list of the materials I usually use.
Materials: oil/acrylic
Easel for painting outdoors - examples include:
French easel - I use either one of these or a gloucester easel (particularly good for larger paintings). As far as I can tell, the best french easels currently generally available are made by Mabef.
Soltek easel - a variation on the french box easel; many of my workshop attendees use these.
Pochade box - very compact and convenient option for outdoor painting. Off the top of my head, brands include: Open Box M, EasyL, Guerrilla
A web search will display plenty of other outdoor easels.
Palette - most plein air easels come with a palette. I favor a wooden palette, or, for acrylic, a glass palette.
Rags, paper towels, or kleenex - for wiping brushes, general cleanup.
Something to paint on - stretched canvas, canvas board, primed masonite, primed paper, etc. Panels (masonite or mdf), either commercially prepared or prepared by the artist are what I prefer for smallish paintings. Preparations include: acrylic gesso application, an alkyd or oil ground, canvas glued to the panel. There are other preparations, but these will do fine. Commercially prepared panels are available at any art materials supplier.
Brushes - a selection of a few hog bristle brushes: chiefly a large bright (size 10 or higher), some rounds, filberts, flats - whatever you prefer. I use soft brushes as well, chiefly cheap synthetic watercolor rounds, though they are unnecessary for workshops.
Palette knife - you realize how important this is when you forget to pack it.
Paint thinner - I get what they call "odorless" mineral spirits from the hardware store. Art materials manufacturers make their own versions - touted to be safer, less toxic, etc - Gamsol and Turpenoid are popular varieties. ( If you get it from the hardware store, make sure it's not labelled "green" or "safer"- one of Kleen-Strip's thinners is labelled thus: it seems to contain some percentage of water and will not work for us.) I use the thinner for cleanup; it's perfectly good for use in painting as well, though I go the old-fashioned route and use artists' turpentine in a palette cup for that, chiefly because it feels better to me in the paint. Acrylic painters don't need any thinner but water.
Cans - I clamp (spring clamps) a coffee or soup can on either side of the drawer of my easel; one to hold brushes, the other to hold thinner. I also use spring clamps to hold my palette steady.
Umbrella - an umbrella that you can attach to your easel is very nice; keeps the sun off of your painting and your palette. However, I have yet to get one that can stand up to more than a lively breeze and so usually do without.
Sketchbook and pencil/charcoal - please bring one.
Trash bag - for your used kleenex or paper towels, miscellaneous rubbish.
Paints - I vary my palette from time to time, but these are the usual colors:
White, cadmium yellow lemon or light, cadmium yellow medium or deep, cadmium orange, cadmium red light, quinacridone red, ultramarine blue, phthalo or prussian blue, sap green, raw umber, burnt sienna, yellow ochre.
The core of this palette is a warm and cool of each of the primary colors, plus a few earth colors and convenience colors. I will be going over use of color, relative warm and cool colors, limited palettes, pigments off the beaten path, tonal values, plus anything else we can think of.
Painting medium - we won't really need anything but thinner for oils, though if you are particularly fond of this or that, by all means bring it along. For acrylics, I like to have some gel or gloss medium handy, but don't find it necessary.
I carry paint and brushes in and under the drawer of the french easel. Everything else I put in a small backpack.
FALL WORKSHOP PHOTOS
TOM HUGHES.
Tom Hughes. (b. 1965) American.
Tom Hughes was born in Massachusetts in 1965. He was a staff artist at the Christian Science Monitor newspaper in Boston in the 1980’s, finally leaving to practice fine art, at which he’s been occupied for more than 30 years.
Once referred to as “a genius” by late, renowned artist and author Charles Movalli, Hughes has had solo exhibitions in galleries in the New England States, North Carolina, Lake Tahoe, San Francisco, and France. He is proficient in several painting media including oil, acrylic, and watercolor, with subject matter comprised of figure painting, portrait, landscape and the odd still life or genre picture. Hughes’s work has been featured in American Artist Watercolor magazine, Fine Art Connoisseur, for which he painted the the magazine’s publisher B. Eric Rhoads’s portrait, and Southwest Art magazine. An example of Hughes's watercolor painting is featured in Watercolor Painting by Tom Hoffmann (Watson Guptill, 2012). In 2019, Tom Hughes won the $15,000 Grand Prize for painting at the Plein Air Convention and Expo, held in San Francisco.
In 2018, Tom Hughes was made a signature member of the Plein Air Painters of America.
Tom lives in New Hampshire's seacoast region.
Tom Hughes was born in Massachusetts in 1965. He was a staff artist at the Christian Science Monitor newspaper in Boston in the 1980’s, finally leaving to practice fine art, at which he’s been occupied for more than 30 years.
Once referred to as “a genius” by late, renowned artist and author Charles Movalli, Hughes has had solo exhibitions in galleries in the New England States, North Carolina, Lake Tahoe, San Francisco, and France. He is proficient in several painting media including oil, acrylic, and watercolor, with subject matter comprised of figure painting, portrait, landscape and the odd still life or genre picture. Hughes’s work has been featured in American Artist Watercolor magazine, Fine Art Connoisseur, for which he painted the the magazine’s publisher B. Eric Rhoads’s portrait, and Southwest Art magazine. An example of Hughes's watercolor painting is featured in Watercolor Painting by Tom Hoffmann (Watson Guptill, 2012). In 2019, Tom Hughes won the $15,000 Grand Prize for painting at the Plein Air Convention and Expo, held in San Francisco.
In 2018, Tom Hughes was made a signature member of the Plein Air Painters of America.
Tom lives in New Hampshire's seacoast region.
Tom Hughes Paintings
