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The image is a clipping of an article from the Harvard Crimson, dated October 18, 1950. The article is titled "On Exhibit" and is written by Stephen Q. Saxe. It discusses an exhibition of theatrical designs at the Fogg Museum by three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

The article highlights that these artists are excellent draftsmen, colorists, and masters of composition, but their real work is in creating physical settings on a stage rather than the designs displayed in the galleries. It emphasizes that their designs are "intentions" and should be judged as such, without considering the practical aspects of an actual stage setting.

Robert Edmond Jones is noted as the most important designer among the three and in the American theater. His work was influenced by Gordon Craig's "new stagecraft" and Adolphe Appia's theories of light. An example of his work mentioned is a 1915 production of "A Man Who Married a Dumb Wife," where he used light frame construction and cheerful primary colors to symbolize the play's spirit.

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

The image is a newspaper clipping from the Harvard Crimson dated October 18, 1950. The article is titled "On Exhibit" by Stephen O. Saxe and focuses on "Designs for the Theater" by three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

The article discusses the exhibit of their theatrical designs at the Fogg Museum. It highlights their skills as excellent draftsmen, colorists, and designers of stage settings. Jones is emphasized as the most significant designer among the three, particularly noted for his contributions to the American theater. Jones's work is influenced by Gordon Craig's "new stagecraft" and indirectly by the theories of light by Adolph Appia. Jones is noted for his innovative use of light and construction to symbolize the spirit of the play in his 1915 production of "A Man Who Married a Dumb Wife."

The article mentions that Jones prioritizes the designer's personal response to the play, which is then interpreted and realized through his stage designs. Lee Simonson is described as having modified Jones’s emphasis on personal interpretation while maintaining a focus on selective realism. The article does not elaborate further on Simonson's specific contributions.

Harvard Crimson, Oct. 18, 1950

ON EXHIBIT

Stephen O. Saxe

Designs for the Theater

At Fogg Museum

Three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson—are the artists, whose theatrical designs are now on exhibit in Fogg. While these designs prove that all three are excellent draftsmen, colorists, and masters of composition, their real work is not hanging in the galleries. They are scenic designers, and their finished creations are physical settings on a stage. Jones has said that a scene design is no more than an “intention.” These artists’ designs must be judged as “intentions,” without consideration of such qualities of an actual setting as plasticity and compatibility with the play’s flow of action.

Jones is the most important designer, not only of the three, but of the entire American theater. Influenced directly by Gordon Craig’s “new stagecraft,” and indirectly by Adolphe Appia’s theories of light, Jones designed a production of “A Man Who Married a Dumb Wife” in 1915. Instead of using stained glass and gothic arches to indicate a medieval scene, Jones symbolized the spirit of the play with light frame construction and cheerful primary colors. Historical accuracy was unimportant; in its place Jones put his own, highly personal, response to the play.

Simonson has modified Jones’ emphasis on the designer’s personality, but has generally remained true to the concept of interpretive, selective real-

The image is a scanned newspaper clipping from the Harvard Crimson dated October 18, 1950. The article, titled "Designs for the Theater" by Stephen O. Saxe, discusses an exhibition at the Fogg Museum featuring theatrical designs by three Harvard alumni: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

Key points from the article:

1. Artists and Exhibition:

   • The exhibition at the Fogg Museum showcases the theatrical designs of Robert Edmond Jones, Donald Oenslager, and Lee Simonson.
   • These artists are noted for their skills as draftsmen, colorists, and masters of composition.

2. Nature of Theatrical Designs:

   • The article emphasizes that the designs are not just artworks to be hung in galleries but are intended to be physical settings on a stage.
   • Jones stated that a scene design should be judged as an "intention," without focusing on the actual setting's plasticity or its compatibility with the play’s flow of action.

3. Robert Edmond Jones:

   • Jones is described as the most significant designer of the three and a major figure in the American theater.
   • He was influenced by Gordon Craig's "new stagecraft" and Adolphe Appia's theories of light.
   • An example of his work is the design for "A Man Who Married a Dumb Wife" in 1915, where he used light frame construction and cheerful primary colors instead of traditional elements like stained glass and gothic arches to convey the spirit of the play.
   • Historical accuracy was secondary to Jones' personal interpretation of the play.

4. Lee Simonson:

   • Simonson adjusted Jones' emphasis on the designer's personality but stayed true to the idea of interpretive, selective realism in his designs.

Overall, the article highlights the innovative approaches of these designers to theatrical stage settings and their significant contributions to American theater.

The image is a newspaper clipping from the Harvard Crimson, dated October 18, 1950. The article is titled "On Exhibit" by Stephen O. Saxe and discusses an exhibit of theatrical designs at the Fogg Museum by three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson.

The article explains that these artists are known for their scenic designs, which are physical settings created for plays on stage. Jones, in particular, is highlighted as a significant figure in American theater. His work, such as the design for "A Man Who Married a Dumb Wife" in 1915, is noted for its innovative use of light and color to convey the spirit of the play rather than focusing on historical accuracy.

The designs are described as "intentions" rather than finished products, meaning they are conceptual representations intended to guide the physical realization of stage settings. Jones' approach was influenced by Gordon Craig's "new stagecraft" and indirectly by Adolphe Appia’s theories on light.

Simonson’s designs are also mentioned, indicating he has modified Jones' emphasis on the designer’s personality while remaining true to the concept of interpretive and selective realism. The article emphasizes the importance of these designs as visual intentions rather than finished artworks.

The image is a newspaper clipping from the Harvard Crimson dated October 18, 1950. The article is titled "On Exhibit" and is written by Stephen O. Saxe. The headline of the article is "Designs for the Theater" and mentions an exhibition at the Fogg Museum.

The article discusses the work of three Harvard men—Robert Edmond Jones, Donald Oenslager, and Lee Simonson—whose theatrical designs are on display. It highlights that these designs are not physical stage sets but rather "intentions" or conceptual plans for stage settings. The article emphasizes that these designs should be judged on their conceptual ideas rather than on their physical realization.

Jones is described as the most important designer in American theater, heavily influenced by Gordon Craig's "new stagecraft" and indirectly by Adolphe Appia's theories of light. Jones designed a production of "A Man Who Married a Dumb Wife" in 1915, using light frame construction and primary colors to symbolize the play's spirit rather than focusing on historical accuracy.

Simonson is noted to have modified Jones’ emphasis on the designer’s personal response to the play but generally remained true to the concept of interpretive, selective realism.

The image shows a scanned newspaper clipping from the "Harvard Crimson," dated October 18, 1950. The article is titled "ON EXHIBIT" by Stephen O. Saxe and is categorized under "Designs for the Theater" at the Fogg Museum.

The text of the article discusses three Harvard men — Robert Edmond Jones, Donald Oenslager, and Lee Simonson — whose theatrical designs are on exhibit at the Fogg Museum. It mentions their excellence as draftsmen, colorists, and masters of composition, stating that their real work is not just for display in galleries but is also integral to the actual physical settings on a stage.

Robert Edmond Jones is highlighted as the most important designer of the three. It references his work and influences, pointing out that he designed a production called "A Man Who Married a Dumb Wife" in 1915, using his unique sense of design that emphasizes personal response over historical accuracy.

The article then briefly touches on Lee Simonson, noting that he has modified Jones' approach by maintaining the concept of interpretive, selective realism.

The article provides insights into the theater scene at the time and highlights the significance of scene design as more than just an intention or static art but as a crucial component of storytelling and theatrical presentation.

The image is a newspaper clipping from the Harvard Crimson, dated October 18, 1950, titled "On Exhibit: Designs for the Theater at Fogg Museum." The clipping features a brief article discussing an exhibition of theatrical designs by three Harvard men: Robert Edmond Jones, Donald Oenslager, and Lee Simonson. The article highlights their work as scenic designers and emphasizes the importance of their designs as physical settings for the stage, rather than mere decorations. It mentions Jones's influential role in American theater, his innovative approach to design, and how his work was shaped by the theories of Gordon Craig and Adolphe Appia. The clipping also briefly touches on the contributions of Simonson and Oenslager, noting their adherence to the concept of interpretive, selective realism in their designs.

The image shows a scanned page from a publication titled "ON EXHIBIT", dated October 18, 1950, authored by Stephen O. Sax. The page is from Harvard Crimson, a student newspaper. The content discusses an exhibition of theatrical designs by three Harvard-affiliated artists: Robert Edmond Jones, Donald Oenslager, and Lee Simonson, which are on display at the Fogg Museum.

Key Points from the Text:

1. Exhibition Context:

   • The article highlights that the artists' designs are being exhibited at the Fogg Museum. It emphasizes that while these individuals are skilled draftsmen, colorists, and composers, their true work lies in scenic design—creating physical settings for stage productions rather than static art pieces.

2. Robert Edmond Jones:

   • Described as the most important American theater designer, Jones is noted for his influence on the American theater.
   • His work is influenced by Gordon Craig's "new stagecraft" and Adolphe Appia.
   • An example of his design is mentioned: a production of "A Man Who Married a Dumb Wife" in 1915.
   • Jones rejected traditional elements like stained glass and gothic arches, instead using light frame construction and cheerful primary colors to symbolize the play's spirit.
   • Historical accuracy was deemed unimportant; Jones focused on expressing his personal response to the play.

3. Lee Simonson:

   • Simonson is described as having modified Jones' emphasis on the designer's personality but generally adhering to the concept of interpretive, selective realism in scenic design.

Visual Description:

• The page appears to be a photocopy or scan of a printed article, showing signs of aging such as slight discoloration and creasing at the edges.
• The layout includes a header with the publication name ("Harvard Crimson"), the date ("Oct. 18, 1950"), and the title ("ON EXHIBIT").
• The main body of text is typed in a serif font, typical of mid-20th-century printing styles.
• The article is structured with paragraphs discussing the artists and their contributions to theatrical design.

Overall Theme:

The article celebrates the artistic and innovative approach of these designers, emphasizing their role in transforming theatrical design by prioritizing interpretation, symbolism, and personal expression over traditional or historical accuracy. It positions their work as a significant contribution to the evolution of American theater design.

The image shows a piece of paper with text written on it. The paper is old and appears to be a newspaper clipping. The text is written in black ink on a beige background. The text is written in a cursive font and is arranged in a column format. The text is written in a formal tone and appears to be an article about theater design. The article discusses the work of three Harvard men who are scenic designers for the theater. The article highlights the importance of scenic design in theater and the unique styles of each designer. The article also mentions the influence of Adolphe Appia's theories of light on the work of one of the designers. Overall, the image depicts a piece of historical text that provides insight into the world of theater design.