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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.

The image shows a typewritten document titled "On Exhibit" by Stephen O. Saxe, focusing on an exhibition called "Designs for the Theater" at the Fogg Museum. The document highlights three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson—whose theatrical designs are featured. It emphasizes that while these designs demonstrate the artists' skills in draftsmanship, color, and composition, their true work lies in creating physical settings for the stage. Jones is noted for his influence from Gordon Craig and Adolphe Appia, and his design for "A Man Who Married a Dumb Wife" in 1915, which prioritized the play's spirit over historical accuracy. Simonson is mentioned to have modified Jones' concepts, staying true to interpretive and selective realism. The document is dated October 10, 1950.

The image shows a document titled "On Exhibit" by Stephen O. Saxe, discussing theatrical designs by three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson, which are displayed at the Fogg Museum.

Key points from the document include:

1. Artists and Their Works: Jones, Oenslager, and Simonson are noted for their excellent designs in theater, focusing on scenic design rather than mere visuals. Their creations are intended to be physical settings on stage.
2. Concept of Scene Design: Jones suggests that a scene design is more about intention than physicality and should be judged without considering the qualities of an actual setting.
3. Jones' Influence: Jones is highlighted as the most important designer in American theater. Influenced by Gordon Craig’s "new stagecraft" and Adolph Appia’s theories, Jones designed a production of "A Man Who Married a Dumb Wife" in 1915. His design emphasized light frame construction and primary colors rather than historical accuracy.
4. Simonson’s Approach: Simonson retains Jones’ emphasis on the designer's personal interpretation but maintains a focus on selective realism.

The document is dated October 8, 1950, and has a handwritten note at the bottom, indicating it was signed by "The Critic."

The image is a newspaper clipping titled "On Exhibit" by Stephen O. Saxe, featuring an article about an exhibition of theatrical designs at the Fogg Museum. The article discusses the work of three Harvard-affiliated artists: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

Key points from the article include:

1. Exhibition Details: The exhibition showcases designs for the theater by these three artists.
2. Artists' Backgrounds: While they are praised as excellent draftsmen, colorists, and masters of composition, the core of their work lies in scenic design.
3. Jones' Philosophy: Robert Edmond Jones emphasizes that a scene design is essentially an "intention" rather than a static representation of a setting. It should be judged based on its qualities such as plasticity and compatibility with the play's action flow.
4. Jones' Influence: Jones is described as the most important designer in American theater, influenced by Gordon Craig’s theories of new stagecraft and indirectly by Adolphe Appia's theories of light.
5. Jones' Notable Work: His design for the 1915 production of "A Man Who Married a Dumb Wife" is highlighted. Instead of using traditional medieval scene elements like stained glass and gothic arches, Jones employed light frame construction and bright primary colors, prioritizing personal expression over historical accuracy.
6. Simonson's Approach: Lee Simonson modified Jones' approach but generally retained the concept of interpretive, selective realism, focusing on the designer's personality.

The clipping is dated October 8, 1950, and is signed at the bottom.

The image shows a newspaper clipping or article titled "On Exhibit: Designs for the Theater" by Stephen O. Saxe. The exhibit is at the Fogg Museum and features the work of three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

The article explains that these three artists are known for their theatrical designs, which are on display. It notes that while their designs are excellent in terms of draftsmanship, color use, and composition, their real work lies in their ability to create physical settings on stage that enhance the play's flow of action.

Jones, the most prominent among the three, is recognized for his significant contributions to American theater. His work was influenced by Gordon Craig's theories on stagecraft and indirectly by Adolph Appia's theories on lighting. Jones designed a production of "A Man Who Married a Dumb Wife" in 1915, where he used light and primary colors to symbolize the spirit of the play rather than focusing on historical accuracy. He prioritized a personal response to the play's concept.

Simonson is noted for modifying Jones' emphasis on the designer's personality, maintaining the concept of interpretive and selective realism.

The article is dated October 8, 1950, with a signature at the bottom, likely that of the author or editor.

The image is of an article titled "On Exhibit: Designs for the Theater" by Stephen O. Saxe. The article discusses an exhibition at the Fogg Museum featuring theatrical designs by three Harvard graduates: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

Key points include:

1. Artists' Background and Expertise:

   • The three artists are noted for their skills as draftsmen, colorists, and masters of composition.
   • Their work is not just for display but represents their role as scenic designers, creating physical stage settings.

2. Robert Edmond Jones:

   • Jones is described as the most important designer of the three and a leading figure in the entire American theater.
   • His work is influenced by Gordon Craig's "new stagecraft" and Adolphe Appia's theories of light.
   • Jones's design for "A Man Who Married a Dumb Wife" (1915) is highlighted. Instead of using traditional elements like stained glass and gothic arches, Jones employed light frame construction and bright primary colors, focusing on a personal interpretation over historical accuracy.

3. Design Philosophy:

   • The article emphasizes that these designs should be judged as "intentions" rather than final settings, given that they don't account for practical aspects such as plasticity and the play’s action flow.
   • Simonson shares Jones’s emphasis on the designer's personal touch but stays generally true to the concept of interpretive, selective realism.

The article was published in "The Crimson" on October 11, 1950.

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.

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 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 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."