Word: oblivion
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Twentieth-century tastes in art have rescued from oblivion or minor status an imposing list of old masters, e.g., Italy's Piero della Francesca, Spain's El Greco, The Netherlands' Vermeer. Still least-known of the rediscovered old masters is France's 17th century Georges de La Tour (TIME, July 12, 1948), three of whose works have just been acquired by U.S. museums (see color page). The wonder seems less that such paintings are recognized as masterworks than that they were ever consigned to the attic...
Moreover, the "good time" psychology of the patrons of New York's drama mill and the enormous expense of putting a Broadway show on the boards has forced Broadway into dependence on temporary "hits" that rapidly draw large audiences and then fade into oblivion before next month's epic. A show that does not promise to be immediately popular with a mass audience is completely impractical. Few can afford to pay $12 or more for a pair of tickets to a show that hasn't been predigested and approved. For example, Candide recently closed to a loss of nearly half...
...beginning to feel responsible for the wellbeing of the nation. It no longer believes that a University is exclusively a center of higher learning. It sees itself as an educational institution, and recognizes that the country is more and more dependent on the university to protect it from cultural oblivion. The growth of technocracy has thrown an evergrowing proportion of the populace into the arms of the university, and given it the chance to leave a permanent mark...
...Egyptians captured in the Sinai campaign, the image of Israel was the one Nasser's radio had given them-a contemptible land of near starvation kept alive by U.S. subsidies, needing only one quick and timely push by the Arabs to shove it into final oblivion. But a few Egyptians were more curious. Israel's Foreign Ministry, learning that some Egyptian officers wanted to see Israel for themselves, jumped at the chance...
...Parrenins are admired across Europe, but in 1942 they were simply superior students at the conservatory who liked to make music together. During the occupation, they might have been sent to forced labor in Germany-or at least to careers as orchestral musicians, which they felt would also mean oblivion-but for the intervention of the late conservatory director, Claude Delvincourt, who provided them with fake identification and ration cards, got them financial support that allowed them to go on playing as a quartet...