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The image is of a newspaper clipping from "The Harvard Crimson," dated October 13, 1950. The article discusses the work of two notable stage designers, Oenslager and Jones.

Key points from the article include:

1. Oenslager's Work:

   • Known for his setting for the Theatre Guild’s "Liliom" in 1921.
   • His designs are characterized by patterns of light, form, and color, yet they remain realistic.
   • His drawings have a poster-like quality, ideal for colorful comedy designs, but may be less effective for dramas relying heavily on mood and atmosphere.

2. Jones' Work:

   • Excels in designing for dramas that depend on mood and atmosphere.
   • Uses a delicate pen-and-ink and wash technique to capture mood and atmosphere, rather than providing detailed drawings for the scene painter.
   • His designs often use a subtly graded grey wash with small areas of blood red.
   • Notable works include the designs for Lionel Barrymore’s "Macbeth" (1921) and John Barrymore’s "Hamlet" (1920), which are praised for their expression and dramatic force.
   • His costume sketch for John Barrymore as Gloucester is highlighted for its character revelation through line, color, and texture contrast.

3. Exhibition at Fogg:

   • The exhibition is noted for its careful setup, imagination, and dramatic effect.
   • Recordings of Stravinsky’s "Oedipus Rex" are played in the gallery, with impressive lighting that enhances the exhibition.

Overall, the article praises the artistic contributions of Oenslager and Jones to theater design, highlighting their unique styles and the impact of their work.

Harvard Crimson, Oct. 18, 1950

THE HARVARD CRIMSON

ism. A superb example of this is his setting for the Theatre Guild's "Liliom" in 1921. He filled the stage with patterns of light, form, and color, yet the treatment remained realistic.

Oenslager's drawings have a poster-like quality that is ideal for explicit, colorful comedy designs. It is sometimes inadequate in treating big dramas which rely heavily on mood and atmosphere. In designing for such dramas Jones excels. He uses a delicate pen-and-ink and wash technique to record mood and atmosphere, rather than providing scale drawings for the scene painter. Many of Jones' drawings have no more color than a subtly graded grey wash and one or two small areas of blood red. His designs for the Lionel Barrymore "Macbeth" of 1921 and the John Barrymore "Hamlet" of 1920 are masterpieces of expression, and at the same time, of dramatic force. Jones' costume sketch for John Barrymore as Gloucester is a revelation of character in every line, every color and texture contrast.

The exhibition at Fogg has been set up with great care, imagination, and a deliberate striving for dramatic effect. Recordings of Stravinsky's "Oedipus Rex" are played in the gallery, and the lighting is more impressively intelligent than at most exhibitions.

The image shows a page from the Harvard Crimson, a student newspaper from Harvard University, dated October 18, 1950. The article discusses the artistic work of two individuals, likely referring to artists or designers involved in theater.

The text in the article highlights the work of Oenslager and Jones:

1. Oenslager: The article mentions that Oenslager's work exhibits a form of realism in stage design. Specifically, it praises his work on the Theatre Guild’s production of "Liliom" in 1921, noting that his use of light, form, and color kept the setting realistic.

2. Jones: The article describes Jones' artistic style as ideal for colorful, explicit comedies, but notes that he is more effective in handling big dramas that require mood and atmosphere. Jones uses a delicate pen-and-ink and wash technique, often featuring subtle gradations of grey and occasional areas of red. The article highlights his designs for "Macbeth" and "Hamlet" from 1921 and 1920, respectively, as masterpieces that balance dramatic force with expressive quality. His costume sketch for John Barrymore’s role as Gloucester is particularly noted for its vivid portrayal of character through color and texture contrast.

The exhibition at Fogg Art Museum is also mentioned, described as being set up with great care, imagination, and a deliberate effort to achieve dramatic effect. Recordings of Stravinsky's "Oedipus Rex" are playing in the gallery, and the lighting is described as impressively intelligent compared to other exhibitions.

The image displays a clipping from the Harvard Crimson, dated October 18, 1950. The article discusses the work of two theatrical designers, Oenslager and Jones, and their respective styles.

1. Oenslager's Work:

   • Oenslager is noted for his realistic and colorful designs, particularly in comedies. His work for the Theatre Guild’s "Liliom" in 1921 is highlighted, where he filled the stage with intricate patterns of light, form, and color while maintaining realism.

2. Jones' Work:

   • Jones' designs are characterized by a delicate pen-and-ink and wash technique, which is ideal for conveying mood and atmosphere in big dramas. His drawings are often simple, with subtle gradations of grey and small areas of blood red.
   • Specific mentions are made of Jones' designs for "Macbeth" (1921) and "Hamlet" (1920), starring Lionel Barrymore and John Barrymore, respectively, which are praised for their expressive and dramatic force.
   • Jones' costume sketch for John Barrymore as Gloucester is particularly noted for its revealing character details through line, color, and texture contrast.

3. Exhibition Details:

   • The article describes an exhibition at Fogg Museum, which is set up with great care and imagination, aiming for dramatic effect.
   • The exhibition includes recordings of Igor Stravinsky’s "Oedipus Rex" and features intelligent lighting, which is noted to be more impressive than most exhibitions.

The article overall provides a critical and appreciative overview of the designers' contributions and the thoughtful setup of the exhibition.

The image shows a clipping from the Harvard Crimson newspaper, dated October 18, 1950. The article discusses the work of two designers, Oenslager and Jones, focusing on their contributions to theater set design.

1. Oenslager:

   • Known for his realistic approach to set design.
   • His work for the Theatre Guild’s "Liliom" in 1921 is highlighted as a superb example, where he used patterns of light, form, and color while maintaining a realistic treatment.
   • His designs have a poster-like quality, making them ideal for explicit, colorful comedy designs.
   • The article suggests that his style can be inadequate for big dramas that heavily rely on mood and atmosphere.

2. Jones:

   • Excels in designing for dramas that emphasize mood and atmosphere.
   • Uses a delicate pen-and-ink and wash technique to capture mood and atmosphere effectively.
   • His designs often feature subtle color schemes, such as grey washes with small areas of blood red.
   • Notable works include designs for the Lionel Barrymore "Macbeth" of 1921 and the John Barrymore "Hamlet" of 1920.
   • His costume sketch for John Barrymore as Gloucester is praised for its expressive and dramatic qualities.

The article also mentions an exhibition at Fogg, which is described as being meticulously set up with great care, imagination, and a deliberate attempt to create dramatic effects. The exhibition includes recordings of Stravinsky's "Oedipus Rex" and is noted for its impressively intelligent lighting.

The image is a scanned excerpt from an article published in the Harvard Crimson on October 18, 1950. The article discusses the work and styles of two prominent stage designers, Robert Edmond Jones and Cleon Throckmorton (referred to as Oenslager in the text, likely a mistake for Aline Bernstein or another designer).

Here are the key points:

1. Robert Edmond Jones' Work:

   • Example of Theatricalism: The article highlights Jones' setting for the Theatre Guild's production of "Liliom" in 1921 as a superb example of theatricalism. He combined light, form, and color on stage while maintaining a realistic treatment.
   • Design Style: Jones' drawings are noted for their poster-like quality, making them ideal for explicit and colorful comedy designs. However, they can sometimes be inadequate for big dramas that rely on mood and atmosphere.
   • Dramatic Works: Jones excels in creating mood and atmosphere with a delicate pen-and-ink and wash technique. His designs often feature subtle gradations of grey wash and small areas of bold colors.
   • Masterpieces: The article mentions Jones' designs for Lionel Barrymore’s "Macbeth" (1921) and John Barrymore’s "Hamlet" (1920) as masterpieces. These designs are expressive and powerful, revealing character in every aspect, including line, color, and texture.

2. Exhibition at Fogg:

   • The exhibition at the Fogg Museum is described as being set up with great care, imagination, and a deliberate attempt to create a dramatic effect.
   • The gallery features recordings of Igor Stravinsky's "Oedipus Rex" and has more impressively intelligent lighting compared to most exhibitions.

Overall, the article praises the innovative and expressive approaches of these designers, particularly focusing on how Jones' work enhances theatrical productions.

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.

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 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.

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.