Driscoll, John. The Artist and the American Landscape. Ed. Arnold Skolnick. Cobb, CA: First Glance Books, Inc., 1998: ill. 62.

The Art of Action. Vermont Arts Council, Montpelier, VT 2009-2010: 60-65.

The Art of Lake Champlain, Verve Editions, 2009: 18.

Artist’s Resource Trust the First Ten Years. Berkshire Taconic Community Foundation, Great Barrington, MA 2006: 49.

Sherman, Michael, Gene Sessions and P. Jeffrey Potash. Freedom and Unity: A History of Vermont. Vermont Historical Society, Barre, VT, 2004, p.620 ill

Champlain’s Lake Rediscovered (exhibition catalog) The Willowell Foundation, 2009: 54-55.

Tyrol, Adelaide. “The Outdoor Palette.” Northern Woodlands Winter 2007: 79, ill

Congdon, Holly, Eliza Funston and Matt Wilson. “Kathleen Kolb.” To Each Her Own: Ten Contemporary Artists.

Middlebury College, Middlebury, VT, December 2000.

“Few places in Vermont are far from an open view or access to the ever-present features of the land, and few Vermonters fail to integrate them into their lives, whether in work or recreation. This may account for the large number of artists who continue to explore the landscape tradition in their work, whether it be the calm neo-Renaissance, almost photorealist style of Kathleen Kolb, the softer, almost impressionistic vision of Wolf Kahn, or the more severe and abstract, and evocative land- and skyscapes of Eric Aho.”

“Kathleen Kolb is a chronicler of our place in the New England landscape. She is known for her meticulously crisp and clean painting style and her elegance of composition. Kolb is often drawn to the peripheries of daylight, often depicting her subject matter at the cusp of day or night. Her paintings, while not large format, have a monumentality about them that defies their actual physical dimensions.

The art historian Kenneth Clarke describes landscape painting as a genre that marks the stages in our conception of nature. Starting the Skidder, with its raw depiction of a logging operation, is a stunning work that acknowledges the realities of our relationship to nature and challenges our conventional notions of beauty. There is a thrilling contrast between the massive sculptural presence of the skidder and the thin delicacy of the bare trees. The morning chill represented here, as the sun rises over the distant ridge in Lincoln, Vermont, is palpably below zero.”