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Died. Lee Oscar Lawrie, 85, German-born U.S. sculptor best known for his huge bronze Atlas in Manhattan's Rockefeller Center, which supports only a skeletal globe because the Rockefellers feared that a solid sphere would darken the nearby window fronts; of cancer; in Easton, Md. Among his other massive works: sculptures ornamenting the Bok "Singing Tower" at Lake Wales, Fla., the U.S. battle monument at Saint-James Manche, France, and the 8½-ton statue of a muscle-bound grain sower that stands atop Nebraska's state capitol...

Author: /time Magazine | Title: Milestones: Feb. 1, 1963 | 2/1/1963 | See Source »

...There's a man for you!" Only Despic Rade, a civil service clerk, remains apart, at first wishing only to ignore the whale: "What's the whale to me?" But adoration for Big Mac sweeps up around him everywhere, and his outspoken feelings about whales soon darken...

Author: /time Magazine | Title: Books: The Red Whale | 8/24/1962 | See Source »

...family nose for individual use. Yet his verse can darken majestically, as in The Cuirassiers of the Frontier, his remarkable evocation of the last years of the Roman Empire. It is a verse rough with contempt...

Author: /time Magazine | Title: Books: Songs of a Bent-Nosed Jove | 8/18/1961 | See Source »

...Once and Future King, T. H. White managed to darken the theme as gently as the coming of evening. White had 677 pages and Lerner has but three hours. In Camelot, Lerner moves from comedy to tragedy as if he were blowing out a candle. Another problem is that Lerner seems to stop shy of the most tragic moments not only Arthur's death but Guinevere's trial and rescue, which, in the script as it stood last week, was only related in an awkward "standup oratorio." Perhaps L. & L.'s biggest problem is to find a way of telling...

Author: /time Magazine | Title: Show Business: THE ROAD | 11/14/1960 | See Source »

...after the scarehead moment of horror, when anguish nullifies distance, and too soon for historical tragedy, when art provides it. But form and perspective apart, The Wall is simply not well enough written. Adapter Millard Lampell gets no leverage into language; his words do not heighten or deepen or darken, are never laconic or poetic or terrible. Rather than quivering with a Whitmanesque "I am the man, I suffer'd, I was there." Lampell's lines come all too close to the sentimen tal and the stagy. The Wall is most effective-is indeed very effective-where...

Author: /time Magazine | Title: The Theater: New Play on Broadway, Oct. 24, 1960 | 10/24/1960 | See Source »

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