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ARCH.2003.31, Rendition: 804300
This image shows a close-up, top-down photograph of a single, aged newspaper clipping from The Harvard Crimson, dated October 18, 1950. The paper is a faded beige or cream color, showing signs of aging and slight wear along the edges, particularly at the bottom.
The clipping is a review or article discussing theatrical set and costume design. It features a bold, centered headline: “THE HARVARD CRIMSON,” followed by body text in a standard serif font, arranged in paragraphs. The article critiques the work of designers, specifically mentioning “Oenslager” and “Jones.”
Key points from the text include:
The text is cleanly printed, though the paper’s age gives it a slightly yellowed tone. The photograph is taken against a plain, neutral gray background, which makes the clipping the sole focus of the image. The clipping appears to be a single, rectangular section cut from a larger newspaper page.
The image is a clipping from "The Harvard Crimson," dated October 18, 1950. It appears to be an article or review discussing the work of a designer, likely in the context of theater or art. The text is formatted in a column style, with a clear header indicating the publication and date. The content seems to critique and praise the designer's work, mentioning specific projects such as the Theatre Guild's "Liliom" in 1921. It also highlights the designer's ability to create expressive and dramatic designs, particularly in scenes for "Macbeth" and "Hamlet," and mentions an exhibition at Fogg that was carefully curated with attention to detail and dramatic effect. The language suggests an appreciation for the artistry and the designer's skill in capturing mood and atmosphere. The paper has a slightly aged appearance, with a faded yellowish hue, and the edges are slightly torn.
This image is a photograph of a newspaper clipping, specifically from "The Harvard Crimson," dated October 18, 1950. The clipping appears to be a review or article discussing theatrical designs, particularly focusing on the work of a designer named Jones and another named Oenslager. The text praises Jones' ability to convey mood and atmosphere through delicate pen-and-ink and wash techniques, especially in his designs for plays such as "Macbeth" and "Hamlet" starring Lionel and John Barrymore, respectively.
The article mentions an exhibition at Fogg, which has been carefully curated with attention to dramatic effect, including the playing of recordings of Stravinsky's "Oedipus Rex" and impressively intelligent lighting. The text also compares Oenslager's poster-like quality designs, which are suitable for explicit and colorful comedy designs, to Jones' more subtle and atmospheric approach, which is better suited for dramatic pieces.
The clipping is slightly worn, with some creases and discoloration, indicating its age. The text is in a serif font typical of newspaper print from the mid-20th century. The newspaper's name, "The Harvard Crimson," is prominently displayed at the top of the clipping.
The image shows a piece of paper with a news article written on it. The paper is white and has a slightly yellowish tint, indicating that it might be old. The news article is titled "THE HARVARD CRIMSON" and is dated October 18, 1950. The article is written in black ink and appears to be discussing the work of a set designer named Jones. The article highlights Jones's use of light, form, and color in his designs and praises his ability to create a realistic yet imaginative atmosphere. The article also mentions Jones's work on productions of "Macbeth" and "Hamlet" and his costume sketch for John Barrymore as Gloucester. The article concludes by noting that the exhibition at Fogg has been set up with great care, imagination, and a deliberate striving for dramatic effect.
The image is of a page from a newspaper or magazine, specifically the Harvard Crimson, dated October 18, 1950. The page appears to be an article about a theater exhibition, possibly featuring the work of a set designer named Oenslager. The article discusses Oenslager's design style, which is described as having a "poster-like quality" that is ideal for explicit and colorful comedy designs but sometimes inadequate for big dramas that rely on mood and atmosphere. The article praises Oenslager's delicate pen-and-ink and wash technique, which is used to record mood and atmosphere rather than providing scale drawings for scene painters. The article also mentions Oenslager's costume sketch for John Barrymore as Gloucester as a revelation of character in every line, color, and texture contrast. The exhibition at Fogg is described as being set up with great care, imagination, and a deliberate striving for dramatic effect, with recordings of Stravinsky's "Oedipus Rex" played in the gallery and intelligent lighting.
The image shows a scanned page from The Harvard Crimson, dated October 18, 1950. The text is a review or article discussing theatrical design, focusing on the work of a designer named Jones. The article highlights Jones' contributions to stage design, particularly for productions such as Liliom (1921) and Macbeth (1921) and Hamlet (1920). It praises Jones' ability to create mood and atmosphere through delicate pen-and-ink techniques, often using minimal color—primarily a grey wash with subtle accents of blood red. The article also mentions an exhibition at the Fogg Art Museum, noting its thoughtful curation, imaginative setup, and the use of recordings of Stravinsky's Oedipus Rex to enhance the experience. The lighting is described as particularly impressive. The overall tone is appreciative, emphasizing the artistic and expressive qualities of Jones' work and the exhibition's execution.
This is an image of a newspaper clipping from The Harvard Crimson, dated October 18, 1950. The article discusses stage and set designs in theater, particularly referencing Oenslager’s and Jones’ work. It notes Oenslager's poster-like drawings for comedy designs and explores Jones’ mastery in crafting mood and atmosphere using pen-and-ink techniques, particularly for dramatic pieces. Jones’ work is highlighted for its subtle use of color, with examples including designs for Lionel Barrymore's Macbeth (1921) and John Barrymore's Hamlet (1920). Additionally, the article mentions an exhibition at the Fogg Museum, which includes recordings of Stravinsky’s Oedipus Rex and carefully designed lighting to enhance the experience. The piece underscores the artistic depth and dramatic intent in Jones' and Oenslager’s contributions to theater.
This image shows an article clipping from the "Harvard Crimson," dated October 18, 1950. The visible text discusses stage designs and drawings, particularly noting their application in theater productions such as the Theatre Guild's "Liliom" in 1921 and the Lionel Barrymore "Macbeth" of 1921, as well as the John Barrymore "Hamlet" of 1920. The article mentions the artistic qualities of the drawings, highlighting their expressiveness and dramatic force. There is a mention of costume sketches for John Barrymore as Gloucester and the use of a pen-and-ink and wash technique. The text also references an exhibition at Fogg, recordings of Stravinsky's "Oedipus Rex," and comments on the lighting and intelligent presentation of the exhibition. The piece is cut off at the edges, so the full text of the article is not entirely visible in this image.
The image shows a clipped excerpt from a newspaper or magazine named "The Harvard Crimson," dated October 18, 1950. The text discusses theatrical set design and costume sketches, specifically noting the work of Oenslager and Jones. It praises Oenslager's drawings as poster-like and ideal for colorful comedy designs, though sometimes inadequate for big dramas. Jones is highlighted for his delicate pen-and-ink and wash technique, effective in conveying mood and atmosphere with subtle use of color, and for creating masterpieces like the costume sketches for Lionel Barrymore's "Macbeth" (1921) and John Barrymore's "Hamlet" (1920). It also mentions an exhibition at Fogg with great care given to dramatic effect, including recordings of Stravinsky’s "Oedipus Rex" in the gallery and notably impressive lighting.