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Fairfield Unversity Art Museum

Installation image of the exhibition To See This Place: Awakening to Our Common Home

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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 - Tkhine 
Wall Panel 8.5x10 
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 - Tkhine Wall 
Panel 8.5x10" (2025). Ephemera. 2. 
https://digitalcommons.fairfield.edu/commonhome-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. 
A tkhine is a Yiddish prayer or devotion.
They are spontaneous prayers that were historically 
written for and by women and non-binary Jews.
Noam Lerman writes, “While traditional Hebrew liturgy 
used scholarly language phrased in the ‘collective 
we’ that was accessible only to some, tkhines were 
written in the first person singular, and often had 
places for individuals to insert their names and express 
themselves directly to G-d using their own vernacular 
language. The tkhines that were written in books 
were approached with reverence and respect, yet they 
could also be viewed as formulas to inspire one’s own 
personal supplications.”
_____________
An Invitation
You are invited to write your own tkhine 
in your mother tongue 
in this notebook 
for an ecological relative; a living being that 
may need protection, 
may offer guidance or protection to you, 
and who you’d like to acknowledge 
in these pages.


English

To See This Place: Awakening to Our Common Home - Tkhine Wall Panel 8.5x10

https://digitalcommons.fairfield.edu/commonhome-ephemera/1007/thumbnail.jp

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 - Exhibit 
Vinyl Wall Letters 100x30 
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 - Exhibit Vinyl Wall 
Letters 100x30" (2025). Ephemera. 8. 
https://digitalcommons.fairfield.edu/commonhome-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. 
TO SEE THIS PLACE
Awakening to Our Common Home
Athena LaTocha | Mary Mattingly | Tyler Rai


To See This Place: Awakening to Our Common Home - Exhibit Vinyl Wall Letters 100x30

https://digitalcommons.fairfield.edu/commonhome-ephemera/1015/thumbnail.jp

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 - Tkhine 
Wall Label 8.5x10 
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 - Tkhine Wall Label 
8.5x10" (2025). Ephemera. 16. 
https://digitalcommons.fairfield.edu/commonhome-ephemera/16 
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. 
A tkhine is a Yiddish prayer or devotion.
They are spontaneous prayers that were historically 
written for and by women and non-binary Jews.
Noam Lerman writes, “While traditional Hebrew liturgy 
used scholarly language phrased in the ‘collective 
we’ that was accessible only to some, tkhines were 
written in the first person singular, and often had 
places for individuals to insert their names and express 
themselves directly to G-d using their own vernacular 
language. The tkhines that were written in books 
were approached with reverence and respect, yet they 
could also be viewed as formulas to inspire one’s own 
personal supplications.”
_____________
An Invitation
You are invited to write your own tkhine 
in your mother tongue 
in this notebook 
for an ecological relative; a living being that 
may need protection, 
may offer guidance or protection to you, 
and who you’d like to acknowledge 
in these pages.


To See This Place: Awakening to Our Common Home - Tkhine Wall Label 8.5x10

https://digitalcommons.fairfield.edu/tonalism-ephemera/1006/thumbnail.jp

Fairfield University 
DigitalCommons@Fairfield 
Ephemera Dawn & Dusk: Tonalism in Connecticut 
Spring 2025 
Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x8 
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 6x8" (2025). 
Ephemera. 7. 
https://digitalcommons.fairfield.edu/tonalism-ephemera/7 
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. 
Joseph Frank Currier (American, 1857-1928) 
Twilight in Schleissheim, ca. 1880  
Oil on panel 
Private collection, New York
Boston-born and an avowed Transcendentalist, 
Frank Currier went abroad to study art in 1868, 
eventually making his home in the small town 
of Schleissheim, north of Munich. Working 
primarily in watercolor, Currier exploited the 
freedom of the medium, producing images 
that were radical in conception and execution, 
their tenebrous colors allowed to blend with 
and bleed into one another in swirling masses 
of barely distinct form. In 1879, Currier showed 
his watercolors at the conservative American 
Watercolor Society in New York, where they 
were so radically different from everything else 
shown that they generated a flurry of confused 
and outraged comment. Currier’s turbulent Two 
Trees and notational Twilight in Schleissheim, both 
oil sketches from about 1880, are typical of the 
visionary style he attained in his watercolors.
Emil Carlsen (American, 1853-1932) 
Golden Tree, 1904 
Oil on canvas 
Private collection, Connecticut
Born in Copenhagen, Denmark, in 1853, Carlsen 
came to the United States in 1872, settling 
in Chicago. He worked as an architectural 
draftsman, traveled to Paris, New York, Boston, 
and San Francisco during the 1870s and 1880s, 
and finally settled in New York in 1891, where 
he taught at the National Academy of Design, 
achieving great recognition and success. Known 
primarily as a painter of still lifes containing 
shimmering vessels of copper, bronze, silver, and 
brass, reminiscent of Dutch old masters, Carlsen 
also painted landscapes in a poetic tonalist mode, 
his stillness and lyricism rivaling the works of his 
friends J. Francis Murphy and J. Alden Weir. A 
master at rendering sleek surfaces in his still lifes, 
Carlsen was equally adept at creating a complex 
weave of surface texture. Golden Tree of 1904 is 
an intensely present portrait of a tree, still and 
composed, the image activated by the scumbled 
surface of the leafy crown.
Henry Ward Ranger (American, 1858-1916) 
Trees along the River, ca. 1899  
Oil on board 
Private collection, New York
Henry Ward Ranger’s father was a professor of 
photography and drawing at Syracuse University, 
where his son studied art and worked primarily 
in watercolor. Ranger also studied music and 
supported his art studies as a music critic after his 
arrival in New York City in 1878. He eventually 
made his way to first Paris and then the artist 
colony in Laren, Holland, where he met Anton 
Mauve, whose paintings of the Dutch countryside 
in the somber colors of the northern climate 
inspired Ranger to embrace a tonalist mode. By 
1885, Ranger was back in New York City and 
began to exhibit views of Normandy and Holland 
along with some pictures of New Jersey. Ranger 
claimed to be the one who put a name to the 
tonalist movement, having referred to his work as 
“tonal” at a Lotos Club exhibition in 1891. Painted 
about 1899, the dreamy Trees along the River, Corot-
like in the melding of its bluish-green tones, is 
likely a view of the Connecticut River. 
Chauncey Foster Ryder (American, 1868-1949) 
Trees on the River Bend, ca. 1900 
Oil on canvas 
Private collection, Connecticut
Chauncey Foster Ryder was born in Danbury, 
Connecticut, and spent his youth in nearby New 
Haven. He studied at the Art Institute of Chicago 
and then remained there as an instructor until 
1901, when he and his wife moved to Paris to 
continue his studies. Ryder showed his work at 
the Paris Salon between 1903 and 1909, and the 
Macbeth Gallery in New York began to represent 
him in 1907. A proficient draftsman, printmaker, 
and watercolorist, he opened a studio in New 
York in 1909. In 1910, he purchased a summer 
home in Wilton, New Hampshire, that he used as 
a base while he and his wife traveled throughout 
New England. 
Ryder’s style is unique and instantly recognizable, 
particularly his use of vibrant greens, so evident 
in the symphonic Trees on the River Bend, in which 
the dense stand of trees gives way to the lone 
spindly saplings – notes in a minor key, as it were. 
Allen Butler Talcott (American, 1867-1908) 
Autumn, Lyme, ca. 1903 
Oil on canvas 
Florence Griswold Museum, Old Lyme, 
Connecticut; 1954.13
By 1901, Talcott had left Hartford to open a studio 
in New York. He became friendly with Henry 
Ward Ranger and accompanied him to Florence 
Griswold’s boardinghouse in Old Lyme in 1901. 
Under Ranger’s influence, Talcott’s style shifted 
to a tonalist mode, and for subject matter he 
turned to Connecticut vistas. In 1903, he bought 
a considerable estate in Old Lyme overlooking 
the Connecticut River and spent summers 
there, painting nature until his early death, in 
1908. Talcott’s uncle founded the New Britain 
(Connecticut) Museum of American Art in 1903.  
The harmonious colors and fluid composition of 
Autumn, Lyme, of about 1903, achieves an illusion 
of movement in the atmosphere, while an inviting 
brighter palette is utilized in Cedars by the Meadow 
to create a subtle pattern of lavenders enveloping 
the tree line.
Dwight Tryon (American, 1849-1925)  
Autumn Landscape, ca. 1887 
Oil on cradled panel 
Private collection, New York
Dwight Tryon grew up in a seventeenth-century 
saltbox house in a section of Hartford called 
Hockanum. Self-taught, he made his first sketches 
of vessels on the Connecticut River. A stint at 
Brown and Gross, a Hartford bookstore, enabled 
Tryon to study books about painting, and soon 
he was producing watercolors and oils, which he 
submitted to the National Academy of Design in 
New York. In 1876, Tryon and his new wife left 
for Holland, Italy, and France, where he spent 
a summer in Auvers influenced particularly by 
Charles-François Daubigny (1817-1878), whose 
deeply colored, textured, thickly atmospheric 
canvases are reflected in Tryon’s Autumn 
Landscape. In 1881, Tryon showed his work at the 
Paris Salon and returned to New York, only to 
move to South Dartmouth, Massachusetts, at the 
suggestion of fellow artist Robert Swain Gifford, 
where they would indulge their love of sailing. 
Dwight Tryon (American, 1849-1925) 
Spring Pasture, 1899 
Pastel on paper 
Private collection, New York
Tryon’s pastel Spring Pasture is typical of his 
mature work. From this point on, Tryon did 
numerous renditions of a scrim of vaporous trees 
ranged across the canvas, works completed from 
memory and executed during the winter from 
his Central Park West apartment. A countryman 
at heart, Tryon revered the writings of Thoreau, 
and his repetition of images of insubstantial 
trees bisecting a meadow encapsulated the 
cerebral aims of the tonalists, as defined by a 
contemporary: “The arrangement of colors must 
be kept in harmony because it must reproduce not 
merely the facts of the landscape … but, rather, 
the effect of the scene upon the painter’s feelings, 
the emotion it evokes. Not alone the grass 
and trees, with whatever delicate recognition 
of gradation of color, but the mood, of which 
they are the embodiment and cause, is to be 
transferred to the canvas.”


Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x8

https://digitalcommons.fairfield.edu/tonalism-ephemera/1025/thumbnail.jp

Fairfield University 
DigitalCommons@Fairfield 
Ephemera Dawn & Dusk: Tonalism in Connecticut 
Spring 2025 
Dawn & Dusk: Tonalism in Connecticut - Vinyl Wall Labels 
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 - Vinyl Wall Labels" (2025). 
Ephemera. 26. 
https://digitalcommons.fairfield.edu/tonalism-ephemera/26 
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 - Vinyl Wall Labels

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

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https://digitalcommons.fairfield.edu/tonalism-images/1019/thumbnail.jp

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Installation image of the exhibition To See This Place: Awakening to Our Common Home

Installation image of the exhibition To See This Place: Awakening to Our Common Home

To See This Place: Awakening to Our Common Home - Tkhine Wall Panel 8.5x10

To See This Place: Awakening to Our Common Home - Exhibit Vinyl Wall Letters 100x30

To See This Place: Awakening to Our Common Home - Tkhine Wall Label 8.5x10

Dawn & Dusk: Tonalism in Connecticut - Wall Labels 6x8

Dawn & Dusk: Tonalism in Connecticut - Vinyl Wall Labels

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

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

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

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