Divyanshu67/squad_v2 huggingface dataset:
Gothic_architecture

Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Question: In Germany, Poland and Austria Romanesque architecture is defined by its massive size and what other design element?
Answer: modular nature

Question: What design style does Romanesque architecture in Germany, Poland, and Austria normally follow?
Answer: the French formula

Question: What does the eastern end of German Romanesque cathedrals typically emulate?
Answer: follows the French form

Question: What is the distinguishing design element in German Gothic cathedrals?
Answer: their breadth and openness

Question: What are hall churches in German cathedrals known as?
Answer: Hallenkirchen

Question: What design style does Romanesque architecture in Germany, Poland, and Australia rarely follow?

Question: What does the eastern end of German Romanesque cathedrals typically avoid?

Question: What is the only design element in German Gothic cathedrals?

Question: What are hall churches in German cathedrals no longer known as?
Gothic_architecture

The distinctive characteristic of Gothic cathedrals of the Iberian Peninsula is their spatial complexity, with many areas of different shapes leading from each other. They are comparatively wide, and often have very tall arcades surmounted by low clerestories, giving a similar spacious appearance to the 'Hallenkirche of Germany, as at the Church of the Batalha Monastery in Portugal. Many of the cathedrals are completely surrounded by chapels. Like English cathedrals, each is often stylistically diverse. This expresses itself both in the addition of chapels and in the application of decorative details drawn from different sources. Among the influences on both decoration and form are Islamic architecture and, towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front, as at Leon Cathedral, typically resembles a French west front, but wider in proportion to height and often with greater diversity of detail and a combination of intricate ornament with broad plain surfaces. At Burgos Cathedral there are spires of German style. The roofline often has pierced parapets with comparatively few pinnacles. There are often towers and domes of a great variety of shapes and structural invention rising above the roof.

Question: What is the distinctive design element of Gothic cathedrals of the Iberian Peninsula? 
Answer: their spatial complexity

Question: What size are the arcades of Gothic cathedrals of the Iberian Peninsula?
Answer: very tall arcades

Question: What type of architecture is a prominent influence on the design and form of Gothic cathedrals from the Iberian Peninsula? 
Answer: Islamic architecture

Question: What type of West front does the Leon Cathedral resemble?
Answer: a French west front

Question: What style are the spires at Burgos Cathedral?
Answer: German style

Question: What is the distinctive design element of Gothic cathedrals of the Iberian continent?

Question: What size are the arcades of Gothic malls of the Iberian Peninsula?

Question: What type of West front does the Leon Cathedral resent?

Question: What style are the spirals at Burgos Cathedral?

Question: What type of architecture lost influence on the design and form of Gothic cathedrals from the Iberian Peninsula?
Gothic_architecture

The distinctive characteristic of Italian Gothic is the use of polychrome decoration, both externally as marble veneer on the brick façade and also internally where the arches are often made of alternating black and white segments, and where the columns may be painted red, the walls decorated with frescoes and the apse with mosaic. The plan is usually regular and symmetrical, Italian cathedrals have few and widely spaced columns. The proportions are generally mathematically equilibrated, based on the square and the concept of "armonìa", and except in Venice where they loved flamboyant arches, the arches are almost always equilateral. Colours and moldings define the architectural units rather than blending them. Italian cathedral façades are often polychrome and may include mosaics in the lunettes over the doors. The façades have projecting open porches and occular or wheel windows rather than roses, and do not usually have a tower. The crossing is usually surmounted by a dome. There is often a free-standing tower and baptistry. The eastern end usually has an apse of comparatively low projection. The windows are not as large as in northern Europe and, although stained glass windows are often found, the favourite narrative medium for the interior is the fresco.

Question: What is the unique characteristic of Italian Gothic design?
Answer: the use of polychrome decoration

Question: What color are the columns of Italian Gothic cathedrals often painted?
Answer: the columns may be painted red

Question: What type of arches do they love to use in Venice?
Answer: they loved flamboyant arches

Question: Instead of rose windows, what type of windows do Italian cathedral facades usually feature?
Answer: occular or wheel windows

Question: What is the preferred narrative medium for the interior of Italian cathedrals?
Answer: the fresco

Question: What is the worst characteristic of Italian Gothic design?

Question: What color are the columns of Italian Gothic cathedrals always painted?

Question: What type of arches do they never use in Venice?

Question: What type of windows do Italian cathedral facades usually forbid?

Question: What is the preferred narrative medium for the interior of Italian cinemas?
Gothic_architecture

The Palais des Papes in Avignon is the best complete large royal palace, alongside the Royal palace of Olite, built during the 13th and 14th centuries for the kings of Navarre. The Malbork Castle built for the master of the Teutonic order is an example of Brick Gothic architecture. Partial survivals of former royal residences include the Doge's Palace of Venice, the Palau de la Generalitat in Barcelona, built in the 15th century for the kings of Aragon, or the famous Conciergerie, former palace of the kings of France, in Paris.

Question: Who was the Royal palace of Olite built for?
Answer: the kings of Navarre

Question: Who was the Malbork Castle built for?
Answer: the master of the Teutonic order

Question: What type of Gothic architecture is the Malbork Castle an example of?
Answer: Brick Gothic architecture

Question: What is the name of the royal residence built for the kings of France in Paris?
Answer: the famous Conciergerie

Question: When was the Palau de la Generalitat in Barcelona constructed?
Answer: built in the 15th century

Question: Who was the Royal palace of Olite pillaged for?

Question: Who was the Malbork Castle burned for?

Question: What type of Gothic architecture is the Malbork Castle a poor example of?

Question: When was the Palau de la Generalitat in Barcelona deconstructed?

Question: What is the name of the special residence built for the citizens of France in Paris?
Gothic_architecture

Secular Gothic architecture can also be found in a number of public buildings such as town halls, universities, markets or hospitals. The Gdańsk, Wrocław and Stralsund town halls are remarkable examples of northern Brick Gothic built in the late 14th centuries. The Belfry of Bruges or Brussels Town Hall, built during the 15th century, are associated to the increasing wealth and power of the bourgeoisie in the late Middle Ages; by the 15th century, the traders of the trade cities of Burgundy had acquired such wealth and influence that they could afford to express their power by funding lavishly decorated buildings of vast proportions. This kind of expressions of secular and economic power are also found in other late mediaeval commercial cities, including the Llotja de la Seda of Valencia, Spain, a purpose built silk exchange dating from the 15th century, in the partial remains of Westminster Hall in the Houses of Parliament in London, or the Palazzo Pubblico in Siena, Italy, a 13th-century town hall built to host the offices of the then prosperous republic of Siena. Other Italian cities such as Florence (Palazzo Vecchio), Mantua or Venice also host remarkable examples of secular public architecture.

Question: What is an example of secular Northern Brick Gothic architecture from the 14th century?
Answer: Stralsund town halls

Question: When was Brussels Town Hall built?
Answer: built during the 15th century

Question: What is the name of the secular building in Spain which was constructed for the purpose of silk exchange?
Answer: the Llotja de la Seda of Valencia

Question: What is the name of the 13th-century town hall constructed to host the offices of the republic of Siena?
Answer: the Palazzo Pubblico

Question: Impressive public secular architecture can also be found in what other Italian city?
Answer: Florence

Question: What is an example of secular Northern Brick Gothic architecture from the 12th century?

Question: When was Brussels Town Hall hidden?

Question: What is the name of the secular building in space which was constructed for the purpose of silk exchange?

Question: What is the name of the 18th-century town hall constructed to host the offices of the republic of Siena?

Question: What is the only Italian city with public secular architecture?
Gothic_architecture

By the late Middle Ages university towns had grown in wealth and importance as well, and this was reflected in the buildings of some of Europe's ancient universities. Particularly remarkable examples still standing nowadays include the Collegio di Spagna in the University of Bologna, built during the 14th and 15th centuries; the Collegium Carolinum of the University of Prague in Bohemia; the Escuelas mayores of the University of Salamanca in Spain; the chapel of King's College, Cambridge; or the Collegium Maius of the Jagiellonian University in Kraków, Poland.

Question: In what era had university towns grown in wealth and importance?
Answer: the late Middle Ages

Question: What is the name of the university building in Bologna, built in the 14th and 15th centuries?
Answer: the Collegio di Spagna

Question: What is the name of the building at University of Prague in Bohemia?
Answer: the Collegium Carolinum

Question: What is the name of the secular building at the University of Salamanca in Spain? 
Answer: the Escuelas mayores

Question: What is the name of the secular building at the Jagiellonian University in Kraków, Poland?
Answer: the Collegium Maius

Question: What era had university towns lost wealth and importance?

Question: What is the name of the university building in Bologna, built in the 14th and 17th centuries?

Question: What is the name of the building at University of Prague in Bahamas?

Question: When was the Escuelas mayores building of the University of Salamanca in Spain destroyed?

Question: What is no longer the name of the building at the Jagiellonian University in Kraków, Poland?
Gothic_architecture

Other cities with a concentration of secular Gothic include Bruges and Siena. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

Question: What is one city with an accumulation of secular Gothic structures? 
Answer: Bruges

Question: What is another city with an accumulation of secular Gothic structures? 
Answer: Siena

Question: What style are most windows on secular Gothic structures?
Answer: flat-topped with mullions

Question: Where are pointed arches and vaulted ceilings found on most secular Gothic structures?
Answer: a few focal points

Question: What is the name of the surviving monastic building in England? 
Answer: Mont Saint-Michel

Question: What is the only city with an accumulation of secular Gothic structures?

Question: What style are all windows on secular Gothic structures?

Question: Where are pointed arches and vaulted ceilings concealed on most secular Gothic structures?

Question: What is the name of the surviving monastic building in Egypt?
Gothic_architecture

In 1663 at the Archbishop of Canterbury's residence, Lambeth Palace, a Gothic hammerbeam roof was built to replace that destroyed when the building was sacked during the English Civil War. Also in the late 17th century, some discrete Gothic details appeared on new construction at Oxford University and Cambridge University, notably on Tom Tower at Christ Church, Oxford, by Christopher Wren. It is not easy to decide whether these instances were Gothic survival or early appearances of Gothic revival.

Question: What is the name of the Archbishop of Canterbury's residence?
Answer: Lambeth Palace

Question: In what year was a Gothic hammerbeam roof installed on the Archbishop of Canterbury's residence?
Answer: In 1663

Question: In what century were distinct Gothic details used on new construction at Oxford and Cambridge?
Answer: the late 17th century

Question: Who used Gothic details in construction of Tom Tower, Oxford?
Answer: Christopher Wren

Question: What is the location of the Archbishop of Canterbury's dentist?

Question: What year was a Gothic hammerbeam roof stolen on the Archbishop of Canterbury's residence?

Question: What century were vague Gothic details used on new construction at Oxford and Yale?

Question: Who avoided Gothic details in construction of Tom Tower, Oxford?
Gothic_architecture

In England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass "low church" as well as "high church" clients. This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.

Question: When was neo-Gothic popularized by influential figures?
Answer: during the second quarter of the 19th century

Question: In Britain after 1837, what was the Gothic revival known as?
Answer: Victorian Gothic

Question: During what years was the High Victorian Gothic period in Britain?
Answer: 1855–1885

Question: What movement was responsible for the philosophy which led to the revival of Anglo Catholic ideas? 
Answer: the Oxford Movement

Question: Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for?
Answer: institutional architecture

Question: When was neo-Gothic forgotten by influential figures?

Question: What was the Gothic death known as in Britain after 1827?

Question: What year was the High Victorian Gothic period in Africa?

Question: What movement was responsible for the philosophy which led to the end of Anglo Catholic ideas?

Question: What other style of architecture did influential figures of the 14th century prefer to use Victorian Gothic for?
Gothic_architecture

The Houses of Parliament in London by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin, is an example of the Gothic revival style from its earlier period in the second quarter of the 19th century. Examples from the High Victorian Gothic period include George Gilbert Scott's design for the Albert Memorial in London, and William Butterfield's chapel at Keble College, Oxford. From the second half of the 19th century onwards it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types. Gothic details even began to appear in working-class housing schemes subsidised by philanthropy, though given the expense, less frequently than in the design of upper and middle-class housing.

Question: Who was the exterior architect of the Houses of Parliament?
Answer: Sir Charles Barry

Question: Who was the interior architect of the Houses of Parliament?
Answer: Augustus Welby Pugin

Question: What style of architecture does the Houses of Parliament exemplify?
Answer: the Gothic revival style

Question: Who designed the Albert Memorial in London?
Answer: George Gilbert Scott

Question: Who designed the chapel at Keble College, Oxford?
Answer: William Butterfield

Question: Who was the failed architect of the Houses of Parliament?

Question: Who was the cook of the Houses of Parliament?

Question: What style of architecture does the Houses of Parliament mock?

Question: Who designed the Albert Memorial in Germany?

Question: Who destroyed the chapel at Keble College, Oxford?
Gothic_architecture

In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.

Question: Who was the main figure of the Gothic Revival in France?
Answer: Eugène Viollet-le-Duc

Question: What famous French cathedral was restored and reconstructed by Viollet-le-Duc?
Answer: the Abbey of Saint-Denis

Question: What modern building material did Viollet-le-Duc teach reform Gothic designers to work with?
Answer: cast iron

Question: In what fortified city in Southern France did Viollet-le-Duc recreate historical Gothic constructions?
Answer: Carcassonne

Question: What other famous French cathedral did Viollet-le-Duc work on?
Answer: Notre Dame de Paris

Question: Who was the villain of the Gothic Revival in France?

Question: What famous French cathedral was ruined by Viollet-le-Duc?

Question: What modern building material did Viollet-le-Duc teach reform Gothic designers to avoid?

Question: What other famous American cathedral did Viollet-le-Duc work on?

Question: What empty city in Northern France did Viollet-le-Duc recreate historical Gothic constructions?
Cubism

The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.

Question: Name the 8 peopl who began the movement
Answer: Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris.

Question: Which person  was the most influential in beginning the movement with is three dimensional forms?
Answer: Paul Cézanne

Question: What year's were Cezannes painting's displayed at Salon d'Automne? Not including the retrospectives.
Answer: 1905 and 1906

Question: What movement did Picasso not participate in?

Question: What movement did Braque not participate in?

Question: What happened in 1903?

Question: Which person was the least influential in beginning the movement with is three dimensional forms?

Question: What year's were Cezannes painting's not displayed at Salon d'Automne?
Cubism

In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Question: What were the three offshoots of Cubism formed in France?
Answer: Orphism, Abstract art and later Purism

Question: What were the other offshoots formed in countries other than France?
Answer: Futurism, Suprematism, Dada, Constructivism and De Stijl

Question: Which offshoot had little in common with Cubism?
Answer: Futurist

Question: Which offshoot of cubism was influenced by Picasso? 
Answer: Constructivism

Question:  What were the four offshoots of Cubism formed in France?

Question: What were the other offshoots formed in France?

Question: Which offshoot had everything in common with Cubism?

Question:  Which offshoot of cubism was not influenced by Picasso?
Cubism

Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

Question: Between what years did cubism begin? 
Answer: 1907 and 1911

Question: In the spring of what year did the first organized exhibition by cubist appear?
Answer: 1911

Question: What was the name of the room that the first exhibition of Cubists took place?
Answer: Salle 41

Question: Who mentioned the landscapes made by Picasso in the first Cubist paintings? 
Answer: Gertrude Stein

Question: In what city did the first exhibition of Cubists take place?
Answer: Paris

Question: What happened in 1906?

Question: What painting did Picasso paint in 1908?

Question: What painting did Braque paint in 1907?

Question: What was the name of the room that the last exhibition of Cubists took place?

Question:  In what city did the last exhibition of Cubists take place?
Cubism

Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

Question: What was the first phase of Cubism known as? 
Answer: Analytic Cubism

Question: Who coined the phrase Analytic Cubsim? 
Answer: Juan Gris

Question: What was the second phase of Cubism called? 
Answer: Synthetic Cubism

Question: From what years did High Cubism take place? 
Answer: 1909 to 1914

Question: From what years did Late Cubism take place? 
Answer: 1914 to 1921

Question:  What was the last phase of Cubism known as?

Question: Who coined the term non-analytic cubism?

Question:  From what years did Low Cubism take place?

Question:  From what years did Post Cubism take place?
Cubism

The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."

Question: Who asserted that the flat canvas supported Cubism? 
Answer: Daniel-Henry Kahnweiler

Question: In what year was the assertion made that the flat canvas supported Cubism?
Answer: early as 1920

Question: When was the assertion that the flat canvas supported Cubism put into debate?
Answer: 1950s and 1960s,

Question: Who was the main opponent that began to argue that the flat canvas did not support Cubism? 
Answer: Clement Greenberg.

Question: Who's work undermined Douglass  Coopers terms describing Cubism?
Answer: Picasso, Braque, Gris and Léger

Question:  Who disagreed that the flat canvas supported Cubism?

Question: In what year was the assertion made that the flat canvas did not support Cubism?

Question: When was the assertion that the flat canvas did not support Cubism put into debate?

Question: Who was the main opponent that began to agree that the flat canvas did not support Cubism?

Question: Who's work undermined Douglass Coopers terms in not describing Cubism?
Cubism

During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.

Question: Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art?
Answer: Paul Gauguin, Henri Matisse, and Pablo Picasso

Question: What about the Native cultures art inspired Matisse, Picasso, and Gauguin?
Answer: stark power and simplicity

Question: Who did Picasso meet around 1906 that had also recenelty learned about Primitivism? 
Answer: Gertrude Stein,

Question: What were Picasso's 1907 paintings usually characterized by? 
Answer: Protocubism

Question: Which artists in the early 21st century inspired by the newly discovered African, Native American, Micro and Polynesian art?

Question: What about the Native cultures art did not inspire Matisse, Picasso, and Gauguin?

Question: Who did Picasso meet around 1960 that had also recently learned about Primitivism?

Question:  What were Picasso's 1970 paintings usually characterized by?
Cubism

The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."

Question: Which two artists did Douglass Cooper say were very important to the forming of Cubism?
Answer: Paul Gauguin and Paul Cézanne

Question: What does Cooper say is the first  Cubist picture? 
Answer: The Demoiselles

Question: Is it true that the first Cubist picture is The Demoiselles? 
Answer: although it was a major first step towards Cubism it is not yet Cubist.

Question: Which two artists did Douglass Cooper say were not important to the forming of Cubism?

Question:  What does Cooper say is the last Cubist picture?

Question: What style is The Desmoiselles?

Question: Who said The disruptive, expressionist element in it is not at all contrary to the spirit of Cubism"
Cubism

The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.

Question: What did Daniel Robbins say about Demoiselles being the beginning of Cubism?
Answer: such deductions are unhistorical

Question: During which years did the conscious begin to look for a new style in Germany, Italy, Russia, and Holland?
Answer: 1905 and 1908,

Question: Which impressionist movements were also influenced by Cubism?
Answer: Les Nabis and the Symbolists

Question: Which technique did the Impressionists use to make their subjects simple forms?
Answer: double point of view

Question: What did Daniel Robbins say about Demoiselles being the end of Cubism?

Question:  During which years did the conscious begin to look for a old style in Germany, Italy, Russia, and Holland?

Question:  Which impressionist movements were not influenced by Cubism?

Question: Which technique did the Impressionists use to not make their subjects simple forms?
Cubism

In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.

Question: Besides Seurat where else are the beginnigs of Cubism found?
Answer: in the two distinct tendencies of Cézanne's later work

Question: Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom?
Answer: Cézanne

Question: Cubism revolutionized the way things could be seen in art how? 
Answer: all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time.

Question:  Besides Seurat where else are the end of Cubism found?

Question: Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further not explored by whom?

Question:  Cubism revolutionized the way things could not be seen in art how?
Cubism

The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."

Question: When did the historical study of Cubism begin?
Answer: in the late 1920s

Question: On who's opinions were the beginnings of the this historical study of Cubism based?
Answer: Guillaume Apollinaire

Question: On which book and who was the author was one of the main sources of the historical study of Cubism based?
Answer: Daniel-Henry Kahnweiler's book Der Weg zum Kubismus

Question: When did the historical study of Cubism end?

Question: What happened in the early 1920s?

Question: On whose opinions were the end of the this historical study of Cubism based?

Question: On which book and who was the author was one of the main sources of the historical study of non-Cubism based?
Cubism

The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."

Question: Understanding who's work was the tradition meaning of Cubism formed on?
Answer: Braque and Picasso

Question: Who suggested that the artists other than Braque and Picasso's relgation to a distant role in Cubism was a mistake?
Answer: Daniel Robbins

Question: What other painters were not thought of as being as Cubist as Braque and Picasso?
Answer: Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier

Question: Understanding whose work was the tradition meaning of non-Cubism formed on?

Question: Who suggested that the artists other than Braque and Picasso's relgation to a close role in Cubism was a mistake?

Question: What other painters were thought of as being as Cubist as Braque and Picasso?

Question: Who said "o suggest that merely because these artists developed same as the traditional pattern"
Cubism

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

Question: What year did the term Cubism become used more?
Answer: 1911

Question: Which poet critic in 1911 with a group of poets accepted the term Cubism? 
Answer: Guillaume Apollinaire

Question: The artists of Passy included which two people?
Answer: Picabia and the Duchamp brothers

Question: What year did the term Cubism become used less?

Question: What happened in 1910?

Question: Which poet critic in 1911 with a group of poets rejected the term Cubism?

Question:  The artists of Passy included which three people?
Cubism

There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.

Question: Where did Picassos work until 1912? 
Answer: Montmartre

Question: Where did Braque and Gris stay until the end of the World War I?
Answer: Montmartre

Question: Where was Leger based around 1912? 
Answer: Montparnasse

Question: Where did Picassos work until 1911?

Question:  Where did Braque and Gris move to at the end of the World War I?

Question: Where was Leger not based around 1912?
Cubism

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Question: Which four people usually met at Fauconnier's studio in 1910?
Answer: Metzinger, Gleizes, Delaunay and Léger

Question: Where was Fauconnier's studio located? 
Answer: Boulevard de Montparnasse

Question: What did the group meeting at Fauconnier's studio want to focus on?
Answer: research into form, in opposition to the Neo-Impressionist emphasis on color.

Question: Which five people usually met at Fauconnier's studio in 1910?

Question:  Where was Fauconnier's studio destroyed?

Question: What did the group meeting at Fauconnier's studio not want to focus on?

Question: What group formed in 1911?
Cubism

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

Question: In what year did the New York Times review the Salon d'Automne?
Answer: October 8, 1911

Question: What was the subtitle of the article published in 1911 in New York TImes about Cubism?
Answer: Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do

Question: List the artists who were featured in the Salon d'Automne? 
Answer: André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka

Question:  In what year did the New York Times not review the Salon d'Automne?

Question: What happened October 9 1911?

Question: What was the subtitle of the article not published in 1911 in New York TImes about Cubism?

Question:  List the artists who weren't featured in the Salon d'Automne?
Cubism

The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

Question: Which Duchamp presentation was displayed in the 1912 Salon des Independants?
Answer: Nude Descending a Staircase, No. 2

Question:  Was Duchamp's work considered controversial when displayed in 1912?
Answer: caused a scandal

Question: What were one of  Metzingers two showings in 1912's Salon des Independants? 
Answer: La Femme au Cheval (Woman with a horse) 1911-1912

Question: Which Duchamp presentation was displayed in the 1913 Salon des Independants?

Question: What painting of Duchamp's was not controversial?

Question: What were one of Metzingers two showings in 1913's Salon des Independants?

Question: Where was Woman with a Door displayed?

Question: Where was La Ville de Rome featured?
Cubism

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

Question: Which politician made the front page of Le Journa in 1912 for his indignation? 
Answer: Jean Pierre Philippe Lampué

Question: Who defended the Cubists in the controversy of 1912?
Answer: Socialist deputy, Marcel Sembat.

Question: Towards which social topic did the Cubists  at the Salon d'Automne creat contrevesy towards? 
Answer: the use of government owned buildings,

Question: Which politician made the front page of Le Journa in 1913 for his indignation?

Question:  Who defended the Cubists in the controversy of 1915?

Question: Towards which social topic did the Cubists at the Salon d'Automne not create controversy towards?

Question: What happened in 1911?
Cubism

It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

Question: What against did Metzinger and Gleizes write Du "Cubsime"? 
Answer: public anger

Question: Who published Du "Cubisme"?
Answer: Eugène Figuière

Question: In what year was  Du "Cubisme" published? 
Answer: 1912

Question:  What did Metzinger and Gleizes write Du "Cubsime" in support of?

Question:  Who wrote Du "Squarism"?

Question:  In what year was Du "Squarism" published?

Question:  Who published Du "Squarism"?

Question: Where was Kupka's paintings not displayed?