Jonathan Ryan, left, and his father Christopher Ryan, of Ryan Funeral Home, are pleased to offer their services to the Lakeville/Salisbury area. They have reopened 255 Main St as a funeral home after it was closed for twenty years and used as a family residence.
LAKEVILLE — Ryan Funeral Home is back in Lakeville after a two-decade hiatus.
The Lakeville branch of their business, Ryan Funeral Home, is located at 255 Main Street at the corner of Lincoln City Road.
“We are happy to be part of the community and continue caring for the community as has been for over ninety years,” the Ryans said. “We are here for personal service, and we take pride in that.”
The big brick house on Main Street was built almost 90 years ago in 1935 and was the location of the Burdick Funeral home. In 1945 G. Roger Newkirk bought the business and it became Newkirk Funeral Home.
Newkirk operated it until 1973 when Frances Gomez bought the business, operating it from 1973-1990, still under the name of Newkirk Funeral Home. Besides Lakeville, there was also a branch in Canaan.
Patti Gomez Majesky, daughter of Frances Gomez and his wife, Patricia, described what life was like in that 1973-1990 period when the family lived with the business.
Majesky said her mother got tired of having to move furniture around whenever the house was needed for a funeral. She recalled putting up a Christmas tree only to have to take it down the next day for a service. She said, “We got really good at moving furniture around.” It was a relief to just have the house as a family house when her father sold the business.
In 1990 Gomez sold the Canaan part of the business to Robert Palmer (Newkirk-Palmer Funeral Home) while retaining the house in Lakeville as residential space for his family.
The most recent incarnation of the Ryan Funeral Home dates to the reopening of 255 Main Street at the end of 2023. It had been closed as a funeral home for more than 20 years and the father and son team are happy to reopen with services to the Lakeville/Salisbury area.
With this reopening, the business has stayed in the family. Patti’s son, Jonathan Ryan, is the grandson of Frances Gomez. He is a licensed funeral director and embalmer as is his father. His father, Christopher, worked for Gomez from 1987-1989.
Christopher graduated from Mortuary school in 1986 and has been practicing ever since. Mortuary school involves two years and earns an associate’s degree. A one-year apprenticeship is required after graduation.
The Ryans have a branch in Torrington; Gleeson-Ryan Funeral Home. Jonathan is mostly based there. Before Christopher Ryan bought it in 2007, it was in the same family for four generations and was known as Gleeson Mortuary. Christopher said that some of the original family still helps out at funerals.
“Funeral homes tend to stay as family businesses,” he said.
The Ryans pointed out that many people are pre-planning their funerals. They said it can be a tremendous help to children and other relatives who may not know just what was wanted by their loved ones. In most cases money for a pre-paid funeral is held in trust and the funds are released when a death certificate is confirmed.
Christopher Ryan said of the future of funeral directors and embalmers, “There is going to be a shortage over the next 20 years. Not enough candidates are coming in to replace the current funeral directors.” At the same time, “with baby boomers aging, the death rate will be rising in the next 20 years.”
Jon and Christopher Ryan carry the main load of the business between them. They hire part-time staff as needed. “Mostly retired gentlemen” who are looking for extra work. He added, it is “not always easy to find people available” because they can’t predict when deaths may occur and can’t promise regular dates. Jon’s mother, Patti, still helps out when needed.
The Ryans said they are there to guide people through what can be one of the most difficult times in their lives. They are proud to “Provide personal service, meet with families directly, and take care of them.”
They offer cremations, funerals, burials, and celebrations of life. Jonathan Ryan said people “don’t necessarily need to come to the funeral home.” He said he and his father are happy to come to your home or meet with you online by Zoom. They are “bringing the business into the new century while maintaining their personal touch,” said Jonathan.
Ryan Funeral Home can be reached at (860) 435-2700, by cell at (203) 231-4677, or online at www.ryanfhct.com.
North Canaan Town Hall
NORTH CANAAN — “If you’re not coming to work, why would you get paid?”
Selectman Craig Whiting asked his fellow selectmen this pointed question during a special meeting of the Board on March 12 discussing Town Clerk Jean Jacquier, who has been absent from work for more than a month. She was not present at the meeting.
“There’s been no reasoning, no explanation, no anything as to why you’re not here,” said Whiting.
Jacquier has worked in Town Hall since 1993 and was first elected town clerk in 2017. Conflict arose in 2023 when several complaints of misconduct were lodged against Jacquier.
First Selectman Brian Ohler filed the complaints to the Attorney General’s office, which included, among others, improper security of the vault, posting candidate campaign material in Town Hall and untimely stamping documents. The subsequent investigation found misconduct on the part of Jacquier in each of these three areas but took no punitive action.
Jacquier filed suit against the Town of North Canaan to recoup $15,000 in legal fees accrued during the investigation. The town motioned to strike the case, which was granted by Hon. Walter Menjivar at Torrington Superior Court on Jan. 28, 2025.
Ohler said Jacquier stopped coming to work after that ruling and has not been in contact since Feb. 4. During her absence, she continued to receive pay checks.
Assistant Town Clerk Marilisa Camardi had been filling in part time but was away the first week of March. To keep the office open, Executive Assistant Paul Mattingly was appointed assistant town clerk by the Board of Selectmen at its March 3 meeting. The two will work together until the next election or until Jacquier returns.
“It’s an essential function of the town to have that office open,” said Whiting.
Last week, Jacquier told The Lakeville Journal her recent absence is due to harassment and antagonism in Town Hall, which is taking a toll on her health.
Jacquier’s attorney, Jeffrey Mirman, communicated with the selectmen to request the meeting regarding her salary be open to the public as opposed to executive session. The selectmen complied.
Selectman Jesse Bunce said he has been in contact with Jacquier and he presented a letter from her to his fellow selectmen during the March 12 meeting. Ohler stated he could not verify the source of the letter, but he would forward it to the town attorney. The letter was not read into the record.
Ohler made a motion to suspend Jacquier’s salary until she returns to work. Whiting seconded. The motion passed 2-0 with Bunce abstaining.
“Every picture begins with just a collection of good shapes,” said painter and illustrator Dan Howe, standing amid his paintings and drawings at the Kearcher-Monsell Gallery at Housatonic Valley Regional High School. The exhibit, which opened on Friday, March 7, and runs through April 10, spans decades and influences, from magazine illustration to portrait commissions to imagined worlds pulled from childhood nostalgia. The works — some luminous and grand, others intimate and quiet — show an artist whose technique is steeped in history, but whose sensibility is wholly his own.
Born in Madison, Wisconsin, and trained at the American Academy of Art in Chicago, Howe’s artistic foundation was built on rigorous, old-school principles. “Back then, art school was like boot camp,” he recalled. “You took figure drawing five days a week, three hours a day. They tried to weed people out, but it was good training.” That discipline led him to study under Tom Lovell, a renowned illustrator from the golden age of magazine art. “Lovell always said, ‘No amount of detail can save a picture that’s commonplace in design.’”
Training led to work. Early on, while still a graduate assistant at Syracuse University, Howe began painting portraits — chancellors, deans, and, later, an endless roster of chairmen and medical executives. It paid well, but Howe found that the job of a portraitist, even a highly skilled one, is ultimately limited. “They’re just the same thing, you know, just a guy in a suit. Later, maybe it was a girl in a suit,” said Howe.
Between commissions, he painted for himself. This show is a gathering of those moments — studies of his wife and daughters, mythic scenes painted for libraries, and Star Wars covers from his time living near Dark Horse Comics in Oregon.A large painting, originally commissioned for a library, shows a girl in an attic opening a trunk, imagination spilling into the room. The library remodeled and sent the painting back. Now it anchors a wall in the show.
Dan Howe’s work reflects the Brandywine School’s devotion to craftsmanship, narrative depth, and a luminous, almost nostalgic realism. Like Howard Pyle and N.C. Wyeth before him, Howe builds scenes using light and composition to evoke mood and meaning. His meticulous brushwork and layering techniques nod to the tradition of classical illustration, yet his work diverges in its contemporary stillness. Of Norman Rockwell, Howe said, “He’s of my era, and our styles are similar. Of course Rockwell is Rockwell. I’ve got a little more painterly, Sargent-esque stuff running through mine.” The influence is there, not as mimicry, but as a quiet echo, refined through his own aesthetic language. “I’m an anachronism,” he said, without regret. His influences form a lineage of illustrators whose work once filled the pages of The Saturday Evening Post and Collier’s. They understood, as Howe does, that a painting must be more than accurate.“Mood is everything,” said Howe, drawing a comparison between two paintings in the show — a couple by a fire — to an old Star Wars concept painting. “Same color scheme. Different world. Mood is everything.”
Teaching remains a passion for Howe. When he and his family moved to the east coast from Chicago, Howe taught a series at the Norman Rockwell Museum called “Painting Like Rockwell,” something he hopes to revive. “I like beginners,” he said. “They don’t have bad habits yet.”
Howe also runs a summer figure drawing workshop at HVRHS with an old-school approach. “You’ve just walked into a time machine — this is art school, 1965. Three hours of drawing in the morning, three in the afternoon. No cell phones.” His methods may be antiquated but the results are living proof that some things are worth preserving. “Maybe this stuff is so old it’s new again,” he mused.
As he hung his pieces for this show, Howe said teachers stopped by, connecting his images to their own memories. “That’s a success,” he said. “If a picture makes someone feel something, then it’s done its job.”
Jon Kopita reading between the lines at the David M. Hunt Library.
Jon Kopita’s work, with its repetitive, meticulous hand-lettering, is an exercise in obsession. Through repetition, words become something else entirely — more texture than text. Meaning at once fades and expands as lines, written over and over, become a meditation, a form of control that somehow liberates.
“I’m a rule follower, so I like rules, but I also like breaking them,” said Kopita, as we walked through his current exhibit, on view at the David M. Hunt Library in Falls Village until March 20.
In 2007, Kopita and his husband, Olaf, an architect, took a trip to The Vitra Design Museum outside of Basel, Switzerland. Kopita found himself infuriated by the pomp surrounding the collection of what were once utilitarian objects, now absurdly canonized. “The irony is that a lot of that furniture was designed to be mass produced, taking really good design and making it accessible to middle class people,” Kopita explained. “It wasn’t supposed to be something so special.” Upon returning home, Kopita began repeatedly writing, “I hate Vitra” on lined paper. Channeling his frustration, he wrote the simple statement 100 times and through the act, found a cathartic release. “It harkened back to when you’re in school and you have to write out, ‘I will not speak in class’ or something 100 times on the black board.” Except for Kopita, what was meant to be disciplinary was not only a contemplative practice, but a healing act.“For me, the experience of repetitive writing became meditative and cathartic, more of an exorcism of thoughts rather than something either punitive or tedious.”
His current show at the library includes work spanning a decade, with many of the pieces created during the COVID-19 pandemic. An educator for over 30 years, Kopita found he had time and space during the pandemic to really investigate his process and to create work in volume.“I did 40 works during the first 150 days,” he said. The early pieces were instructional in nature with words like “wash hands,” “social distancing,” and “zoom” but soon began morphing into existential inquiry —with questions like “is this all there is?” repeating like a dark mantra. Some are reminders of the stark political divisions that emerged during those days. There is a tribute to the Black Lives Matter movement with names repeated in grief: George Floyd and Breonna Taylor. The whole display, Kopita delights, demands something that feels almost radical in today’s digital age: slowness. “This is a difficult show because you really have to stop and process. It asks people to read.”
In many ways, Kopita has spent a lifetime questioning the boundaries imposed on him, both literal and figurative. “90% of going to school is a hazing system where you’re just learning how to write between the lines — these are the rules.” He felt the pressure of conformity from an early age. His own father had expectations for him: a stable corporate job, health insurance, a 401k. Kopita tried it for a year and a half.“It was like my boss was saying, ‘if you work really hard, you can have what I have.’” Kopita took one look at “what he had”— a suburban house, a company car —and thought, “Yeah, I don’t want this at all.” He moved to New York, got a job in a Soho gallery, and never looked back. “I know really well firsthand what it means to step across the line and try to do things differently and do things on your own terms.”
In his piece, “Transition,” Kopita grapples with the fluidity of identity, a structured yet random exercise where “he” gradually transforms into “she.”
“There’s so much going on right now with ideas of gender and what gender means, a kind of war on how people identify,” he said. “There are days where I’m 100% he, and then maybe there are days where I’m more she.” The work, much like his larger practice, is about change, about pushing against the expected, about honoring the beauty in what falls outside the lines.
Kopita is fascinated by the tension between order and deviation, by the way small shifts — whether in handwriting, identity, or thought — can carve out new landscapes. But for all its rigor, Kopita’s work is not about control. It’s about surrender. The act of writing, for him, is like a river cutting through rock, shaping itself as it moves. “I think of it as how the words carve up the paper. So, it actually becomes a three-dimensional exercise in my head at times.” It is discipline as liberation, structure as rebellion, a practice that turns the most mundane act — writing the same word over and over — into something sacred.
