Word: modernly
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Dates: during 1930-1939
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...Paderewski, TIME, Feb. 27, p. 47. "A recent indication of modern decadence, in Paderewski's eyes, was the fuss-&-feathers about Sir James Jeans's statement that there is no such thing as 'touch' in piano playing - that a pianist will get the same tone whether he hits the key with his finger or the end of an umbrella. Says umbrella-thatched Paderewski: 'Art is a question of personality...
...President Sadi Carnot of France, surrounded by a brilliant throng of cheering scientists, opened the Pasteur Institute. But the new Institute came too late to the old genius who had! suffered taunts and gibes all his life. As he gazed with pride at his spacious new buildings and modern equipment he said sadly: "I have the poignant melancholy of a man who enters here beaten by time...
...large laboratory, but has drawn no salary. Although this is exceptional, all Institute scientists receive very low salaries, for the Institute's income barely supports it. Dr. Plotz, who proved that measles is a virus disease, is now working on a measles serum, recently developed a new modern type of smallpox vaccination. He works in the laboratory of the late famed Biologist Elie Metchnikoff, who received a Nobel Prize in 1908 for his work on immunity. > Professor Gaston Ramon, square-built, square-bearded son of a farmer, who lives surrounded by 400 horses at the Institute's annex...
Except for the limited life of the Harvard Society for Contemporary Art, a brilliant nook run by high-brow Harvardians from 1928 to 1932, the first general awakening began four years ago. A drifting spore from Manhattan's Museum of Modern Art took root in Boston as an "affiliate," was watered by about 50 members, made $1,500 on a Modern Arts Ball (now annual and famous as the only dance at which Boston society stays up until dawn). By 1937 there were 300 members. Two months ago, with 800 paying members, Boston's offshoot became a lusty...
Last week Bostonians trooped to the Fine Arts Museum to see the Institute's most independent, smartest exhibition so far: "Sources of Modern Painting." Hung side by side were selected modern paintings from Manet to Dali and the i) older European pictures, 2) primitive pictures, 3) ancient pictures, 4) Japanese prints or 5) photographs with which they were definitely linked in style. No mere repetition of the now familiar facts and Grade A names, the show included such juxtapositions as an early Gauguin and a Kate