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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.

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.

Description of the Image:

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:

Header:

• The title "ON EXHIBIT" is prominently displayed at the top in bold, uppercase letters, enclosed within a decorative border.
• Below the title, the author's name, Stephen O. Saxe, is written in a smaller, elegant font.

Subtitle:

• The subtitle, "Designs for the Theater," is centered below the author's name, also in bold uppercase letters.

Main Text:

• The body of the text begins with the phrase "At Fogg Museum," indicating the location of the exhibition.
• The text is written in a serif font, giving it a formal and academic tone. It discusses the work of three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson—whose theatrical designs are on exhibit at the Fogg Museum.
• The text highlights that while these artists are skilled in drafting, color, and composition, their primary role is as scenic designers, emphasizing that their work is conceptual rather than purely artistic. It quotes Jones, stating that a scene design is an "intention" rather than a physical setting.
• The text elaborates on the influence of notable figures like Gordon Craig and Adolphe Appia on Jones's work, particularly in his design for "A Man Who Maried a Dumb Wife" in 1915. It notes Jones's innovative approach, such as using light frame construction and primary colors instead of traditional elements like stained glass and gothic arches.
• The text also briefly mentions Simonson, noting that he has modified Jones's emphasis on the designer's personality while maintaining the concept of interpretive, selective realism.

Footer:

• At the bottom of the page, there is a handwritten note that reads:
  "The Crimson, Oct. 10, 1950."
  This suggests that the publication is from The Crimson, likely a student newspaper, and is dated October 10, 1950.

Design Elements:

• The cover has a clean, minimalist design with a light beige or off-white background.
• The text is primarily black, with the title and subtitles standing out due to their bold formatting.
• There are subtle decorative borders framing the title and subtitle, adding a touch of elegance without overwhelming the content.

Overall Impression:

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 presents a vintage newspaper clipping, featuring a beige paper with black text, set against a light gray background. The clipping is titled "ON EXHIBIT" and subtitled "Designs for the Theater," with the author's name, Stephen O. Saxe, displayed below.

Key Features:

• Title and Subtitle: The title "ON EXHIBIT" is prominently displayed at the top of the clipping, followed by the subtitle "Designs for the Theater."
• Author's Name: The author's name, Stephen O. Saxe, is listed below the title and subtitle.
• Content: The clipping features an article discussing the designs for a theater exhibit, including information about the artists involved and their contributions to the project.
• Background: The clipping is set against a light gray background, which provides a clean and neutral contrast to the beige paper and black text.
• Signature: A handwritten signature is visible at the bottom of the clipping, although it is not legible.

Overall Impression:

The image presents a well-preserved vintage newspaper clipping that showcases the designs for a theater exhibit. The use of a beige paper with black text creates a classic and timeless look, while the light gray background adds a touch of modernity. The clipping's content provides insight into the artistic process and the contributions of the artists involved in the project.

The image depicts a newspaper clipping from 1950, featuring an article about an exhibit at the Fogg Museum. The article is titled "On Exhibit" and discusses the designs for a theater production. The clipping is yellowed with age and has a rectangular shape, with a thin border around the edges. The text is written in black ink and is divided into paragraphs, with headings and subheadings in bold font. The overall design of the clipping suggests that it was printed on a typewriter or early printing press, giving it a vintage look. The article itself appears to be a review or critique of the exhibit, discussing the artistic choices made by the designers and their impact on the audience. The language used is formal and descriptive, suggesting that the article was intended for a sophisticated audience interested in art and culture. Overall, the image provides a glimpse into the past, showcasing the style and tone of journalism from the mid-20th century.

The image presents a vintage article titled "ON EXHIBIT" by Stephen O. Saxe, featuring a discussion on "Designs for the Theater" at the Fogg Museum.

Key Elements:

• Title and Author: The title "ON EXHIBIT" is prominently displayed in large black text within a rectangular box, accompanied by the author's name, Stephen O. Saxe.
• Article Content: The article is divided into three paragraphs, discussing an exhibition at the Fogg Museum showcasing the work of three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson. The text highlights their expertise as scenic designers and their contributions to the field of theater design.
• Signature and Date: The article is signed by "The Crimson" and dated "Oct. 10, 1950," indicating its origin from a Harvard University publication.
• Visual Characteristics: The article is printed on yellowed paper, suggesting its age, and features a simple yet elegant design.

Overall Impression:

The image effectively conveys the content and tone of the article, providing insight into the world of theater design and the contributions of the three featured artists. The vintage aesthetic adds a layer of historical significance, making the image a valuable resource for those interested in the history of theater and design.

The image presents a vintage newspaper clipping or pamphlet page, featuring an article about theatrical designs on exhibit at the Fogg Museum. The title "ON EXHIBIT" is prominently displayed in large black text within a rectangular box at the top of the page, accompanied by the subtitle "Stephen O. Saxe" and "Designs for the Theater" in smaller text below.

Key Details:

• Title and Subtitle:
  • Title: "ON EXHIBIT"
  • Subtitle: "Stephen O. Saxe" and "Designs for the Theater"
• Exhibit Information:
  • Location: Fogg Museum
  • Featured Artists: Robert Edmond Jones, Donald Oenslager, and Lee Simonson
• Article Content:
  • Description of the artists' work and styles
  • Mention of Jones' production of "A Man Who Married a Dumb Wife" in 1915
  • Comparison of Jones' and Simonson's design approaches
• Signature and Date:
  • Handwritten signature: "The Crimson"
  • Date: October 18, 1950

Visual Description:

• The page has a yellowed, aged appearance with a rough texture.
• A small orange mark is visible in the upper-left corner.
• The background of the image is a solid gray color.

Overall, the image provides a glimpse into a historical exhibit of theatrical designs at the Fogg Museum, featuring the work of three notable artists.

The image shows a newspaper clipping from "The Crimson," dated October 9, 1950. The article is titled "On Exhibit" and is written by Stephen O. Saxe. It discusses an exhibition of theatrical designs at the Fogg Museum, featuring the work of three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

The article highlights that while these designers are skilled draftsmen, colorists, and masters of composition, their actual work is in creating physical settings for the stage. It emphasizes that their designs should be judged as "intentions" rather than finished artworks, considering factors like plasticity and compatibility with the play's action.

Robert Edmond Jones is noted as the most influential designer among the three, known for his innovative approach influenced by Gordon Craig's "new stagecraft" and Adolphe Appia's theories of light. Jones's 1915 design for "A Man Who Married a Dumb Wife" is mentioned, where he used light frame construction and primary colors to symbolize the play's spirit, prioritizing personal interpretation over historical accuracy.

Lee Simonson is mentioned as having modified Jones's emphasis on the designer's personality but staying true to the concept of interpretive, selective realism.