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ARCH.2003.31, Rendition: 804297
The image appears to be a vintage document or announcement regarding an exhibit at the Fogg Museum. The title at the top reads "On Exhibit" followed by the name "Stephen O. Saxe." Below the title, the document is titled "Designs for the Theater."
The text discusses a theatrical design exhibit featuring the works of Robert Edmond Jones, Donald Oenslager, and Lee Simonson, who are described as three Harvard-trained designers. The document elaborates on their contributions to theatrical design and their influence on modern stagecraft.
Specifically, it highlights Robert Edmond Jones as an influential designer, particularly in the context of American theater. It mentions his use of "light frame construction" and cheerful primary colors to symbolize the spirit of a play rather than relying on historical accuracy. Additionally, it touches on how Simonson's work has modified Jones's emphasis, focusing on interpretive, selective realism.
The document is dated October 18, 1950, and is signed with a cursive note at the bottom left corner that reads "The Crimmon," possibly referring to a publication or a specific section of a larger document. The text has a formal and informative tone, aimed at an audience interested in theater and design.
The image shows a vintage printed card or flyer on an off-white paper with a black border at the top. It is titled "ON EXHIBIT" with the name "Stephen O. Saxe" below it, followed by the heading "Designs for the Theater" and "At Fogg Museum."
The text describes an exhibition of theatrical designs by three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson. It explains that their designs are on display at the Fogg Museum and discusses their roles as scenic designers. The text mentions that their work is more than just drawings and must be judged as "intentions" without considering the practicalities of an actual stage setting.
The flyer also highlights Robert Edmond Jones as the most important designer, noting his influence from Gordon Craig and Adolphe Appia. It describes Jones's innovative approach to designing a production of "A Man Who Married a Dumb Wife" in 1915, using light frame construction and cheerful primary colors instead of traditional medieval elements.
At the bottom of the page, there is a handwritten note that reads: "The Crimson, Oct. 18, 1950," indicating that this flyer is likely from or related to an article in "The Crimson," a Harvard University newspaper, published on October 18, 1950. The overall condition of the paper suggests it is aged, with some discoloration and wear.
This image displays a vintage, vertically oriented printed article or exhibit label titled “ON EXHIBIT”, authored by Stephen O. Saxe. The article is titled “Designs for the Theater” and describes an exhibition at the Fogg Museum.
The content focuses on three Harvard-educated scenic designers: Robert Edmond Jones, Donald Oenslager, and Lee Simonson. It emphasizes that while they are skilled draftsmen and colorists, their true work exists as physical stage settings—not gallery art. The article highlights Robert Edmond Jones as the most important theatrical designer in America at the time, noting his innovative 1915 production of “A Man Who Married a Dumb Wife”. Jones departed from historical accuracy to use light frames and cheerful primary colors to symbolize the play’s spirit, influenced by Gordon Craig and Adolphe Appia.
It also mentions that Lee Simonson adapted Jones’ ideas, maintaining an emphasis on interpretive, selective realism.
At the bottom of the article, there is a handwritten signature — likely “Lee Simonson” — followed by the date “Oct. 17, 1950”.
The paper is aged, off-white or cream-colored, with visible creases and a faint red pencil mark on the upper left corner. It is framed by a simple black rectangular border, and all text is typewritten in a serif font. The entire piece is photographed against a plain, neutral gray background.
This artifact serves both as a historical document of early 20th-century American theater design and as a personal memento, signed by one of the subjects nearly 35 years after the event described.
The image shows a newspaper clipping with a heading that reads "ON EXHIBIT Stephen O. Saxe Designs for the Theater At Fogg Museum." The clipping is printed on a piece of paper that has a beige color. It has a rectangular shape with rounded corners. The clipping contains a paragraph of text that describes the exhibition of designs for the theater by Stephen O. Saxe at the Fogg Museum. The text mentions three Harvard men, Robert Edmond Jones, Donald Oenslager, and Lee Simonson, who are the artists whose theatrical designs are on exhibit in Fogg. It also highlights the importance of Jones as a designer and his influence on the American theater. The clipping has a signature at the bottom that reads "The Crimson, Oct. 18, 1950."
The image is a page from a newspaper featuring an article about an exhibit of theatrical designs at the Fogg Museum. The article is titled "On Exhibit: Designs for the Theater" and is attributed to Stephen O. Saxe. The article highlights the work of three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson. Their designs are praised for their excellence in draftsmanship, color, and composition. The article emphasizes that these designers are scenic designers, whose work creates physical settings for stage productions. It also mentions that their designs should be judged based on their intentions and qualities such as plasticity and compatibility with the play's flow of action. Robert Edmond Jones is described as the most important designer, influenced by Gordon Craig's new stagecraft and Adolphe Appia's theories of light. His design for "A Man Who Married a Dumb Wife" in 1915 is highlighted for its symbolic arches and use of light frame construction and cheerful primary colors, which symbolized the spirit of the play. The article also briefly mentions Donald Oenslager and Lee Simonson, noting their contributions to the field of theatrical design.
The image shows the cover of a publication titled "ON EXHIBIT" by Stephen O. Saxe, which discusses designs for the theater at the Fogg Museum. The cover is designed in a classic, formal style, with a clean and structured layout. Here are the key visual and textual elements:
The image depicts a well-preserved historical document, likely from a newspaper or magazine, discussing an art exhibition focused on theatrical design. The formal typography, structured layout, and inclusion of a dated handwritten note suggest it is a piece of archival or historical significance, reflecting mid-20th-century art criticism and theater design discourse.
The image shows an old newspaper or document clipping with text on it. At the top, in bold letters, the title reads "On Exhibit" by Stephen O. Saxe, followed by an underline. The title below that says "Designs for the Theater" in italicized font. There is then a subtitle "At Fogg Museum," indicating the location of the exhibit discussed in the article.
The body of the text mentions three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson―as the artists whose theatrical designs are on exhibit at Fogg. It discusses the technical skill and the purpose of their work in scenic design rather than traditional gallery art. The importance of scene design is discussed in the context of theater and the article specifically highlights Jones as the most important designer among the three, referencing his influence from Gordon Craig and Adolphe Appia. There is a mention of a production designed by Jones, called “A Man Who Married a Dumb Wife,” and how he applied an innovative approach to the design of that production.
There are a couple of handwritten notes: "The Crimson, Oct. 8, 1950," possibly indicating the source and date of the article. The top left corner has a red mark, possibly a stamp or a colored annotation.
The document is aged, with slight discoloration that suggests it is from an older print source. The edges are slightly irregular, indicating it may have been physically cut out from a larger piece of paper.
This image is a newspaper or magazine clipping titled "On Exhibit," written by Stephen O. Saxe. The subtitle reads "Designs for the Theater - At Fogg Museum." It discusses a theatrical design exhibition at the Fogg Museum, featuring scenic designs by Robert Edmond Jones, Donald Oenslager, and Lee Simonson, who are described as accomplished artists in their field.
The text highlights the artistic qualities of their designs, explaining their focus on the physical settings for plays rather than traditional gallery works. It further elaborates on Robert Edmond Jones as a pivotal designer, referencing his innovative work influenced by Gordon Craig and Adolphe Appia.
A specific production, "A Man Who Married a Dumb Wife," is mentioned as an example of Jones's creative approach, emphasizing symbolic over historical accuracy. Simonson is also discussed, as his work reflects a personality-driven yet interpretive style. The clipping is dated "Oct. 18, 1950" and features handwriting at the bottom referencing "The Crimson," likely a publication.
The image shows a newspaper or magazine clipping titled "ON EXHIBIT" by Stephen O. Saxe. The subtitle reads "Designs for the Theater At Fogg Museum." The article discusses three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson—who are theatrical designers with work now on exhibit at the Fogg Museum. The text explains that while these artists are excellent draftsmen, colorists, and masters of composition, their real work is in creating scenic designs for theater stages rather than traditional gallery art.
The article highlights Robert Edmond Jones as the most important designer, describing his influence by Gordon Craig's "new stagecraft" and Adolphe Appia's theories of light. It mentions Jones’ 1915 production design for "A Man Who Married a Dumb Wife," noting his use of light frame construction and cheerful primary colors instead of medieval motifs.
The article also briefly touches on Lee Simonson, who modified Jones' emphasis on the designer's personality but adhered to the concept of interpretive, selective realism.
At the bottom, there is a handwritten note that appears to say "The Crimson, Oct. 18, 1950," possibly indicating the publication source and date.
The image shows a small vintage newspaper clipping mounted on a light gray background. The beige card features a decorative border at the top with the title “On Exhibit” and the author “Stephen O. Saxe,” followed by the headline “Designs for the Theater” and “At Fogg Museum.” The body text describes three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson—as artists whose theatrical designs are on exhibit at the Fogg Museum. The text explains their work and influence, with notes on their design approaches. A faint handwritten caption along the bottom reads something like “The Crimson, Oct. … 1950.” There is a small red mark on the left edge, and the clipping is bordered by a light gray mat.