Archives Scrapbooks

The image appears to be a scanned page from a publication, specifically from "Crimson," dated June 8, 1929. The page is titled "Sargent Murals Well Received at First Appearance" and discusses John Singer Sargent's murals.

The article is a critique of Sargent's murals, written by G.H. Edgell, a professor of fine arts and dean of the Faculty of Architecture. The murals are described as memorializing the students of Harvard University who died in the Great War, with the left panel symbolizing Death and Victory and the right panel depicting the coming of Americans to Europe.

The image in the center of the page is a black-and-white photograph of Sargent's mural titled "Death and Victory," which is featured prominently. The text continues the critique of the murals and discusses their reception and significance.

The page is from a book or archive, as it is bound and shows signs of wear and age.

This image is a page from a publication dated June 8, 1929, discussing the Sargent Murals. The page contains a photograph of a mural titled "Death and Victory" by John Singer Sargent, along with accompanying text.

The photograph shows a mural depicting a somber and terrifying figure of Death, shrouded and crowned, holding a fallen private in its left arm. To the right of Death is the Winged Victory, a light golden figure, which stands in radiant contrast to the dark and ominous presence of Death. The mural is framed within an arched architectural structure, and the text beneath the image identifies it as "Death and Victory" by John Singer Sargent.

The text on the page provides commentary on the murals, noting that they were well received at their first appearance. It mentions that G. H. Edgell, Professor of Fine Arts and Dean of the Faculty of Architecture, commented on the paintings in a contemporary report. The article discusses the purpose of the murals, which was achieved, and mentions that the critic believes the artist did well in solving a difficult problem but might criticize the symbolism.

The murals are described as being located in the Widener Library at Harvard University, intended as a memorial to the students who lost their lives in the Great War. The article delves into the details of the murals, their symbolic elements, and the artist's approach to the subject matter.

This image displays a single page from an old, bound publication, likely a university bulletin or alumni magazine titled "Crimson," dated June 8, 1929.

The page features an article reviewing the murals painted by John Singer Sargent for Harvard University’s Widener Library, titled “SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE.”

Key Elements of the Page:

1. Headline & Subheadings:

• The main headline is bold and prominent: “SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE.”
• It is followed by a subheading: “Edgell of Architectural School Comments on Paintings in Contemporary Report.”
• Another subheading reads: “Edgell, Commenting on Sargent Murals, Declares That Artist Produced Great Decorative Composition, Aptly Conceived.”

2. Central Illustration:

• A large, grayscale reproduction of one of Sargent’s murals, titled “Death and Victory—By John Singer Sargent.”
• The artwork depicts a dramatic, allegorical composition within an arched panel:
  • A large, winged female figure labeled “VICTORY” holds a banner reading “DEATH” over her head.
  • She embraces a fallen, mortally wounded soldier.
  • Below them, a broken sword, a shield, and a figure (possibly a fallen comrade or symbolic figure of grief) appear in shadow.
  • A small “Harvard Univ.” signature appears in the bottom right corner of the image.
  • The style is monumental and symbolic, consistent with early 20th-century public art.

3. Article Text:

• The review is attributed to G. H. Edgell, Professor of Fine Arts and Dean of the Faculty of Architecture.
• The article describes the unveiling of Sargent’s murals as a significant artistic event at Harvard, noting they were created as memorials to students who died in World War I.
• It explains the symbolism:
  • The left panel: “Death and Victory.”
  • The right panel: “Coming of the Americans” to Europe.
• The critic praises Sargent for solving “difficult problem[s],” creating bold, symbolic compositions that harmonize with their architectural setting — specifically noting the use of low intensity color with gold and brown tones, which complement the marble background.
• He notes Sargent avoided historical detail in favor of decorative and symbolic expression.
• The article concludes that Sargent successfully created “great decorative composition aptly conceived and executed from the point of view of architectural setting.”

4. Layout & Design:

• The page is laid out in a traditional columnar newspaper or magazine format, with two main columns of text flanking the central image.
• The paper appears aged, with yellowed pages and a visible binding on the right.
• The font is serif, typical of early 20th-century print.

Overall Impression:
This is a historical document capturing contemporary critical reception of John Singer Sargent’s public art at Harvard — highly regarded for its symbolic power and decorative harmony with architecture. The review underscores the importance of the murals both as war memorials and as significant additions to the University’s cultural and artistic heritage.

Note: The original article from which this is reprinted is dated November 9, 1922, as specified in the text — indicating this 1929 issue is a retrospective or reprint.

The image is a page from a magazine or newspaper that features an article about John Singer Sargent's murals in the Widener Library at Harvard University. The article is titled "Sargent Murals Well Received at First Appearance" and was written by Edgell, a professor of Fine Arts and Dean of the Faculty of Architecture at Harvard University. The article discusses the murals' reception and Sargent's ability to create a great decorative composition. The page includes a black-and-white image of one of the murals, "Death and Victory," which depicts a winged figure of Death holding a shield and a fallen soldier below. The article also mentions the symbolism of the figures and the use of color in the murals.

The image depicts a page from a newspaper or magazine, likely from the early 20th century, based on the typography and layout. The headline reads "SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE," indicating that the article is about the initial reception of murals by an artist named Sargent. The article includes a quote from G. H. Edgell, who comments on the murals, praising their decorative composition and the artist's conception.

The page features a photograph of one of the murals, titled "Death and Victory" by John Singer Sargent. The mural shows a figure of Victory holding a laurel wreath above a fallen soldier, symbolizing the triumph of life over death. The image is framed by an ornate border, which adds to the decorative quality of the artwork.

The text below the image provides additional context and description of the mural, highlighting the artist's use of symbolism and color. The article discusses the artist's intention to create a harmonious and uplifting composition, despite the somber subject matter.

The overall tone of the article is positive, with the critic praising the artist's ability to convey complex emotions and ideas through his work. The article also mentions the artist's previous successes and the importance of his contribution to the art world.

The layout of the page is typical of the time period, with a large headline at the top, followed by a photograph and accompanying text. The use of ornate borders and decorative elements reflects the artistic style of the era.

The image shows a page from a historical publication dated June 8, 1929, titled "Crimson". The page features an article discussing the Sargent Murals, which were well-received at their first appearance. The article is titled "Sargent Murals Well Received at First Appearance" and includes commentary by Edgell, a professor at the Architectural School, who evaluates the murals in a contemporary report.

Key Elements of the Page:

Text Content:

1. Headline and Subheadings:

   • The main headline is "Sargent Murals Well Received at First Appearance."
   • A subheading states: "Edgell, Commenting on Sargent Murals, Declares That Artist Produced Great Decorative Composition, Aptly Conceived."
   • Another subheading reads: "Purpose Was Achieved."

2. Body Text:

   • The article discusses the unveiling of John Singer Sargent’s murals at the Widener Library, an event of historical importance for the University.
   • The murals are described as artistic paintings filling the main doorway into the room and memorializing students who lost their lives in the Great War.
   • The left panel depicts Death and Victory, while the right panel shows the Coming of the Americans to Europe.
   • The article highlights Sargent’s approach, noting that he rendered the scheme historically without attempting to address broader historical narratives.
   • It emphasizes the murals' decorative purpose and their successful integration with the architectural setting.

3. Critical Perspective:

   • The article includes commentary from G. H. Edgell, Professor of Fine Arts at the Alumni Bulletin, who praises the murals as a successful decorative composition.
   • Edgell acknowledges the difficulty of the task and commends Sargent’s ability to achieve a harmonious and symbolic arrangement.

Illustration:

• The page includes a detailed black-and-white illustration of the mural titled "Death and Victory" by John Singer Sargent.
• The illustration depicts a dramatic scene:
  • A central figure, presumably Death, is shown with outstretched arms, holding a shroud or veil.
  • To the right, a figure representing Victory stands triumphantly, holding a crown and a laurel wreath.
  • The background features symbolic elements, such as a broken column and a golden crown, reinforcing themes of mortality and triumph.
  • The composition is dynamic, with strong contrasts and a sense of movement, emphasizing the contrast between death and victory.

Layout and Design:

• The page is formatted in a classic newspaper or magazine style, with clear typography and structured sections.
• The illustration is placed centrally, drawing attention to the visual representation of the mural.
• The text is organized into paragraphs, with subheadings and a caption below the illustration identifying the artwork.

Contextual Notes:

• The article references the Widener Library and its significance as a memorial space for Harvard University students who perished in the Great War.
• The murals are praised for their decorative success, symbolic meaning, and integration with the architectural setting.
• The date (June 8, 1929) situates the article in the interwar period, reflecting the cultural and artistic climate of the time.

Overall, the page combines textual analysis and visual representation to celebrate John Singer Sargent’s murals as a significant artistic and decorative achievement.

The image shows a newspaper clipping from the Crimson, dated June 8, 1929. The clipping features an article about Sargent murals, with the headline "SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE" and a subheading "Edgell of Architectural School Comments on Paintings in Contemporary Report". The article discusses the unveiling of Mr. Sargent's paintings in the Widener Library, which was an event of great importance in the artistic history of the University. The two paintings fill the sunken panels at the right and left of the main doorway into the room of memorial photographs and the Wider collection. They are intended as a memorial to the students of Harvard University who lost their lives in the Great War. The subjects represented are the symbols of Death and Victory in the left panel, and the coming of the Americans to Europe on the right. Happily, Mr. Sargent made no attempt at historical rendering and treated his scheme broadly from the decorative point of view as the panel of the Coming of the Americans he has filled the space with a mighty column of American youths in uniform, slashing the composition boldly from right to left. In the lower right-hand side are three symbolic figures of France, Belgium, and England. France is in the foreground, mapping the Phrygian cap, carries an infant on her left arm and stretches out her right to receive the support of the American soldiers. Behind her, Belgium, a broken sword in her hand, has swooned, and is upheld by other soldiers, while she pro- tests herself partially with the robe of Britannia, a helmeted figure behind her. In the upper left-hand corner is a magnificent representation of the American Eagle silhouetted against the flag. Behind the soldiers can be made out a conventionalized representation of the sea. Although the faces are individualized and represent the finest types of American youth, the column arrangement of the figures gives the composition the broad, rhythmic effect of a Byzantine mosaic. To the left-hand panel the motif is that of a mortally wounded soldier clasping the arm of a comrade. The painting, therefore, keep their place and beautify the wall without seeming to leap from it. There is now needed, to complete the scheme, some enrichment for the rectangular panel above the doorway, but it is expected, will be supplied by an inscription. Mr. Sargent is to be congratulated for solving so happily an extremely difficult problem. The khaki costume of the modern soldier lends itself to an orderly and interesting arrangement, and the necessity of filling two panels of rather difficult shapes with symbolic compositions, when no definite subjects were assigned to the artist, required the highest order of imaginative creation. Though individuals may criticize details of the composition and symbolism, none can deny that the artist has been extremely successful in his main purpose, which was to produce a great decorative composition aptly conceived and executed from the point of view of architectural setting. The painting, therefore, keep their place and beautify the wall without seeming to leap from it. There is now needed, to complete the scheme, some enrichment for the rectangular panel above the doorway, but it is expected, will be supplied by an inscription. Mr. Sargent is to be congratulated for solving so happily an extremely difficult problem. The khaki costume of the modern soldier lends itself to an orderly and interesting arrangement, and the necessity of filling two panels of rather difficult shapes with symbolic compositions, when no definite subjects were assigned to the artist, required the highest order of imaginative creation. Though individuals may criticize details of the composition and symbolism, none can deny that the artist has been extremely successful in his main purpose, which was to produce a great decorative composition aptly conceived and executed from the point of view of architectural setting.

This image depicts a newspaper clipping from the Crimson, dated June 8, 1929, featuring an article titled "SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE." The article discusses the unveiling of Mr. Sargent's paintings in the Widener Library, which were well-received by the artistic community. The article also includes a photograph of one of the paintings, titled "Death and Victory," which is a striking depiction of death and victory. The painting features a figure of death holding a crown, surrounded by symbols of victory, and is rendered in a bold and expressive style. The article concludes by praising the artist's skill and creativity in producing such a powerful and thought-provoking work of art. Overall, the image provides a fascinating glimpse into the world of art and culture in the early 20th century.

The image depicts a yellowed newspaper clipping with a black cover, featuring an article about John Singer Sargent's murals.

The clipping is dated June 8, 1929, and is titled "SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE." The article discusses the unveiling of Sargent's paintings in the Widener Library at Harvard University, which were intended as a memorial to students who lost their lives in World War I. The article praises Sargent's work, stating that he achieved his purpose and produced a great decorative composition.

The clipping includes a large illustration of one of Sargent's murals, titled "Death and Victory." The mural depicts a nude figure representing Victory standing over a fallen soldier, symbolizing Death. The illustration is rendered in black and white, showcasing the intricate details of Sargent's artwork.

The overall tone of the article is positive, highlighting Sargent's skill and artistry in creating a powerful and meaningful memorial. The clipping provides a glimpse into the reception of Sargent's work during its initial unveiling, offering insight into the artistic and cultural context of the time.

The image presents a vintage newspaper clipping, likely from 1929, featuring an article about John Singer Sargent's murals. The clipping is yellowed and has a black border on the right side.

• Title and Date
  • The title "SARGENT MURALS WELL RECEIVED AT FIRST APPEARANCE" is prominently displayed at the top of the clipping.
  • The date "June 8, 1929" is handwritten in the upper-left corner.
• Article
  • The article discusses Sargent's murals, which were recently unveiled at Harvard University's Widener Library.
  • The murals depict the symbols of Death and Victory, and the coming of the Americans to Europe.
  • The article praises Sargent's work, stating that he has achieved a great decorative composition.
• Image of Mural
  • A black-and-white photograph of one of Sargent's murals is featured in the center of the clipping.
  • The mural shows a woman representing Victory standing over a dead soldier, with a palm branch and a wreath.
• Author and Publication
  • The article was written by G.H. Edgell, Professor of Fine Arts and Dean of the Faculty of Architecture at Harvard University.
  • The article was originally published in the Alumni Bulletin on November 9, 1922, and is reprinted in the clipping.

In summary, the image shows a vintage newspaper clipping discussing John Singer Sargent's murals, which were unveiled at Harvard University's Widener Library in 1929. The article praises Sargent's work, highlighting its decorative composition and symbolic meaning. A black-and-white photograph of one of the murals is also featured in the clipping.