When creating beacon:beckon, 2026 Rosenthal Education Center (REC) Artist in Residence Kenton Brett drew inspiration from artworks across the Cincinnati Art Museum’s collection. From lighthouses and industrial forms to handmade paper, Cubism, and ancient frescoes, these works helped shape the ideas, materials, and atmosphere of Beacon Beach.

Here are a few of the pieces that sparked Kenton’s creative process and helped bring beacon:beckon to life.

Aldo Rossi (Italian, 1931–1997), The Lighthouse, 1980, pen and black ballpoint, pentel, Gift of RSM Co., 1985.322

The Lighthouse by Aldo Rossi was one of Kenton’s biggest inspirations. “This work reminds me of times I spent on the seashore, looking in tidepools for critters, building sandcastles on the beach, and the majesty of an old lighthouse in the distance,” Kenton said. “I still love to tour lighthouses with the lights and lenses they use to safely guide ships into port. Though modern lighthouses are automated by electricity and advanced optics, it’s amazing how little has changed in thousands of years of lighthouse construction.”

Ralston Crawford (American, 1906–1978), Aircraft Plant, 1945, oil on canvas, Museum Purchase, 1949.157. On display in Gallery 212.

Kenton was also inspired by Ralston Crawford. Located in Gallery 212, Aircraft Plant by Crawford spoke to Kenton during his creative process. “More of an overview and general feeling, this work reminded me to keep things simple,” Kenton said. “I was struck by the ease of the composition and the hidden complexities of the color.”

Nancy Thompson Genn (American, 1901–2000), Planes of Light - Roma #2, 1989, embossed handmade paper, Gift of Sarah Butler, 1992.330.

Nancy Genn, an artist known for working across media including handmade paper, offered another point of connection. In beacon:beckon, Kenton also moves across materials and approaches, ranging from painting to technology as he explores different places at Beacon Beach. Kenton described Genn’s work, Planes of Light - Roma #2, as “a feminine touch to the masculine forms of the exhibition. The edges are softer, the colors quieter, and yet still evoke this sense of construction within limitations.”

Albert Gleizes (French, 1881–1953), Building Construction, 1917, oil on masonite, Gift of Thomas C. Adler, 1955.774.

French artist Albert Gleizes brought Cubism into Kenton’s exhibition. Kenton connected with Building Construction by Gleizes, saying, “What a beautiful juxtaposition; this city is every building upon itself yet confirmed within the frame of the canvas. Our structures are always limited by the place we choose to build them.”

Tower, from the Ermita de San Baudelio, circa 1125-1150, fresco transferred to canvas, Gift of the Clowes Fund, Inc., and Elijah B. Martindale, 1962.59. On view in Gallery 203.

The Frescos from the Ermita de San Baudelio, including Tower, were the final works in the museum’s collection that Kenton drew inspiration from. Tucked away in Gallery 203 on the second floor, the frescoes offer a quiet moment of discovery. “This is a work I often seek out on my tours of the CAM,” Kenton said. “It’s a secret alcove that offers a literal window to an ancient world, reminding us that hope is always on the horizon.”

From now until November 8, explore the CAM artworks that inspired beacon:beckon! The Rosenthal Education Center is free always and is open during regular museum hours.