Fairfield University: DigitalCommons@Fairfield

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Fairfield University Art Museum

Fairfield University 
DigitalCommons@Fairfield 
Ephemera To See This Place: Awakening to Our Common Home 
Spring 2025 
To See This Place: Awakening to Our Common Home - Intro Vinyl 
Panel 36x48 
Fairfield University Art Museum 
Follow this and additional works at: https://digitalcommons.fairfield.edu/commonhome-ephemera 
Recommended Citation 
Fairfield University Art Museum, "To See This Place: Awakening to Our Common Home - Intro Vinyl Panel 
36x48" (2025). Ephemera. 6. 
https://digitalcommons.fairfield.edu/commonhome-ephemera/6 
This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of 
DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights-
holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is 
permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain 
permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license 
in the record and/or on the work itself. For more information, please contact digitalcommons@fairfield.edu. 
       nvironmental threats and climate change are urgent matters of
       concern at Jesuit universities, where conversations on this topic
often take place in reference to two documents by Pope Francis:
Laudato Si’: On Care for Our Common Home (2015) and the 2023
update Laudate Deum. Artists play an indispensable role in our
collective response to climate change. To See This Place, curated by 
Al Miner and David Brinker, presents work by Athena LaTocha, Mary
Mattingly, and Tyler Rai, three contemporary artists whose outlook
resonates with the themes of Laudato Si’ and Laudate Deum.
Embodying a breadth of personal, geographic, and cultural
backgrounds, the three artists create works strongly associated with
a sense of place, whether specific or imaginary. They employ media
as diverse as photography, sculpture, video, and painting, and often
incorporate materials sourced from particular locales. Yet the artists
draw forth broader themes from this particularity, critiquing political
and economic systems that perpetuate destructive self-interest and
drawing attention to people who have been marginalized and
historically excluded or harmed. The works are artistically compelling
yet can inspire us to creativity and boldness in our efforts to address
climate change. 
This exhibition will open at Saint Louis University's Museum of
Contemporary Religious Art in Fall 2025.
E
TO SEE THIS PLACE
Awakening to Our Common Home


To See This Place: Awakening to Our Common Home - Intro Vinyl Panel 36x48

https://digitalcommons.fairfield.edu/tonalism-ephemera/1001/thumbnail.jp

Fairfield University 
DigitalCommons@Fairfield 
Ephemera Dawn & Dusk: Tonalism in Connecticut 
Spring 2025 
Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x3 
Fairfield University Art Museum 
Follow this and additional works at: https://digitalcommons.fairfield.edu/tonalism-ephemera 
Recommended Citation 
Fairfield University Art Museum, "Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x3" (2025). 
Ephemera. 2. 
https://digitalcommons.fairfield.edu/tonalism-ephemera/2 
This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of 
DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights-
holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is 
permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain 
permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license 
in the record and/or on the work itself. For more information, please contact digitalcommons@fairfield.edu. 
Alexander Wyant (American, 1836-1892) 
Clouded Meadow, ca. 1885 
Oil on canvas 
Private collection, Connecticut
By the mid-1880s, a more forceful, energetic, 
abstracted style emerged in Wyant’s art, as 
evidenced in Clouded Meadow, a crush of thickly 
painted greens against a silvery sky. 
Robert Bruce Crane (American, 1857-1937) 
Frosted Fields, ca. 1925 
Oil on canvas 
Private collection, Connecticut
The shimmering dematerialized trees in 
Frosted Fields particularly tend toward a level 
of abstraction rooted in reality that can also be 
observed in the late work of Emil Carlsen.
Charles Warren Eaton (American, 1857-1937) 
Home by the Pond, ca. 1895 
Oil on panel 
Private collection, Connecticut
His Home by the Pond is a panoply of rich, velvety 
greens that infuse the atmosphere with their 
greenish tint.
Henry Ward Ranger (American, 1858-1916) 
Early Spring, 1910  
Oil on panel 
Private collection, New York
Early Spring strikes a different chord, putting one 
in mind of the paintings of Bruce Crane from the 
same period. 
Chauncey Foster Ryder (American, 1868-1949) 
Mountain Birches, ca. 1915  
Oil on canvas 
Private collection, Connecticut
The Connecticut native painted locations in 
Litchfield County, and Mountain Birches is likely 
also a Connecticut view.  


English

Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x3

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Fairfield University 
DigitalCommons@Fairfield 
Ephemera Dawn & Dusk: Tonalism in Connecticut 
Spring 2025 
Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x9 
Fairfield University Art Museum 
Follow this and additional works at: https://digitalcommons.fairfield.edu/tonalism-ephemera 
Recommended Citation 
Fairfield University Art Museum, "Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x9" (2025). 
Ephemera. 8. 
https://digitalcommons.fairfield.edu/tonalism-ephemera/8 
This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of 
DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights-
holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is 
permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain 
permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license 
in the record and/or on the work itself. For more information, please contact digitalcommons@fairfield.edu. 
Homer Dodge Martin (American, 1836-1897) 
Normandy Shore, 1884  
Oil on canvas 
Private collection, New York
Primarily self-taught, Homer Dodge Martin 
began to paint in the descriptive style of the 
Hudson River School, exhibiting for the first 
time at the National Academy of Design when 
he was twenty-one. An early practitioner of 
tonalism, he changed his style after a European 
sojourn in 1876, when he encountered the 
landscape vignettes of the Barbizon painters and 
met Whistler in London. Another trip, to the 
Normandy area of France, where he remained 
between 1881 and 1886, solidified Martin’s 
attachment to the humble views, limited palette, 
vague contours, and slight melancholy that 
characterized the works of Barbizon painters such 
as Corot, whose intimate landscapes were bathed 
in tones of silvery greens. Compared with the 
classical compositions of Martin’s earlier Hudson 
River School canvases, the breezy Normandy Shore 
of 1884, with its high horizon and emphasis on 
the foreground is almost musical in its disposition 
of major and minor elements across the picture 
plane. 
 
Benjamin Foster (American, 1852-1926) 
Black Squall, ca. 1905 
Oil on canvas 
Private collection, New York
Born in Maine, Ben Foster went to New York to 
ease financial constraints brought on his family 
by the early death of his father. He came to art 
at the age of thirty, studying at the Art Students 
League and exhibiting at the National Academy 
of Design for the first time in 1884. He shared 
a studio with Leonard Ochtman and Charles 
Warren Eaton and traveled with them to Paris, 
where he showed paintings at the Paris Salon 
in 1887 and explored and painted the area 
around the town of Barbizon. By 1887, he was 
back in New York City and Cornwall Hollow, 
Connecticut, painting the environs of his country 
home there.
Foster painted traditional subjects in a 
nontraditional way. Black Squall, for example, 
is breathtaking in its modernism. A work of 
slashing diagonals and unclear imagery, with 
turgid sea and rushing clouds, it is more a 
rendition of the experience of a storm than an 
actual depiction. 
Mary Loring Warner (American, 1860-1950) 
Landscape with Barn at Sunset, 1887 
Oil on canvas  
Hawthorne Fine Art, LLC
Mary Loring graduated from Mount Holyoke 
College in 1882 and studied in New York City at 
the Cooper Union and the Art Students League, 
where she was inculcated with the methods and 
philosophy of tonalism. Her instructors included 
J. Alden Weir and Charles Warren Eaton, and 
she also took instruction from and painted in the 
studio of Franklin De Haven (1856-1934), a tonalist 
who lived in Tolland, Connecticut, with whom 
she appears to have maintained a long-standing 
friendship.
Mary Loring married Charles W. Warner in 
1891 and moved to Middletown, Connecticut, 
where she limned the scenery around her in 
oils, pastels, and watercolors. Landscape with Barn 
at Sunset, dated 1887, is a freely painted sunset 
over a russet-colored field under a waning sky, 
the blue and orange colors of a Connecticut 
autumn variegated but blending into one another. 
The forlorn view of a dilapidated barn against 
a setting sun is an invitation to dwell upon 
sentiments of abandonment, the passing of time, 
the recollection of an earlier rural era – all in all, 
an effective gateway to inspire rumination.
Amelia “Minnie” Montague Watson  
(American, 1856-1934) 
Hudson Valley Evening, 1884 
Oil on board 
Hawthorne Fine Art, LLC
A student of Dwight Tryon, Amelia Watson, 
born in East Windsor Hill, Connecticut, was 
first instructed in art by her mother. Amelia and 
her sister, Edith, a photojournalist, maintained 
a residence called Wild Acres in East Windsor 
Hill, and the surrounding area was the subject of 
many of Watson’s Connecticut watercolors.
Watson became a teacher, first in Saratoga 
Springs, New York, then returned to Hartford, 
where she remained as an instructor for several 
more years. Watson left Hartford to teach at 
the Martha’s Vineyard Summer Institute from 
1878 to 1902, and although an instructor in oil, 
watercolor, and pastels, she was primarily a 
watercolorist, exhibiting at both the American 
Watercolor Society and the New York Water Color 
Club. Watson’s Hudson Valley Evening, of 1887, 
balanced and saturated with color, creates an 
appealing composition of intersecting diagonals. 
The low tones so popular during the late 1880s 
are enhanced by the textured brushstroke that 
enlivens the surface of the picture.


Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x9

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Fairfield University Art Museum,

Fairfield University 
DigitalCommons@Fairfield 
Ephemera Dawn & Dusk: Tonalism in Connecticut 
Spring 2025 
Dawn & Dusk: Tonalism in Connecticut - Digital Board 
Fairfield University Art Museum 
Follow this and additional works at: https://digitalcommons.fairfield.edu/tonalism-ephemera 
Recommended Citation 
Fairfield University Art Museum, "Dawn & Dusk: Tonalism in Connecticut - Digital Board" (2025). 
Ephemera. 33. 
https://digitalcommons.fairfield.edu/tonalism-ephemera/33 
This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of 
DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights-
holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is 
permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain 
permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license 
in the record and/or on the work itself. For more information, please contact digitalcommons@fairfield.edu. 



Dawn & Dusk: Tonalism in Connecticut - Digital Board

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Installation image of the exhibition Dawn & Dusk: Tonalism in Connecticut

https://digitalcommons.fairfield.edu/tonalism-images/1040/thumbnail.jp

https://digitalcommons.fairfield.edu/tonalism-images/1041/thumbnail.jp

https://digitalcommons.fairfield.edu/angortamor-images/1003/thumbnail.jp

Installation image of the exhibition An Gorta Mor: Selections from Ireland\u27s Great Hunger Museum

https://digitalcommons.fairfield.edu/angortamor-images/1009/thumbnail.jp

https://digitalcommons.fairfield.edu/angortamor-images/1011/thumbnail.jp