TASK DEFINITION: In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
PROBLEM: Passage: Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860) married Albert de Broglie on 18 June 1845, and they had five sons together. Although not high royalty, on the occasion of their marriage, they styled themselves Prince and Princesse respectively. Pauline was a highly intelligent and religious woman, who was well read and wrote a number of texts in her lifetime. Her shyness was well known; she was widely considered strikingly beautiful and charming, but those around her would often avoid eye contact so as not to embarrass her. Albert was devoted to his wife, and commissioned the painting after being impressed by Ingres' 1845 portrait of his sister, the Comtesse d'Haussonville.
Albert approached Ingres around 1850 to undertake the portrait. Ingres dined with the de Broglie family in January 1850, and according to one eye witness, "seemed to be very happy with his model."Although Ingres' main source of income came from portraiture, it distracted from his main interest in history painting, which early in his career, was far less lucrative. He found acclaim in the 1840s, when he became successful enough to no longer depend on commissions. This painting was Ingres' second-last female portrait, and final society portrait.Influenced by the working methods of Jacques-Louis David, Ingres began with a number of nude preparatory sketches, for which he employed professional models. He built up a picture of the sitter's underlying anatomical structure, as seen in the Musée Bonnat study, before deciding on how to build the lavish costume and accessories. Although there is no surviving record of the commissions, and the exact sequence of events is uncertain, the sketches can be dated from 1850, the year the style of her evening dress came into fashion. Ingres signed and dated the final picture at the left center "J. INGRES. pit 1853".Pauline died in 1860 aged 35 from tuberculosis. After her death, Albert published three volumes of her essays on religious history. Albert (who in 1873 became the 28th Prime Minister of France) lived until 1901, but was heartbroken and did not remarry. He kept her portrait for the remainder of his life draped in fabric and hidden behind a velvet curtain, only lending it to select exhibitions. After his own death, the painting passed within the family until 1958 when it was sold to the Metropolitan Museum of Art via the banker and art collector Robert Lehman, and is today held in the Lehman Wing. The family kept most of the jewelry and accessories seen in the painting, although the marabou feathers were sold to the Costume Institute of the Metropolitan Museum.

SOLUTION: What is the full name of the person who bought the portrait of the wife of the man who was heartbroken and did not remarry?

PROBLEM: Passage: In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh – even risky – reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the ‘disguise’ of presenting the sitter in the guise of a classical goddess to protect against accusation of  salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth.

SOLUTION: What is the name of the person who was portrayed as a "full-blown and palpably desirable strumpet?"?

PROBLEM: Passage: Michael Baskin is an average 11-year-old boy. His father, Billy Baskin, is a struggling artist and temporary sole caregiver of the children while his wife attends to the needs of her recently deceased father in Australia. Upon hearing the news that an abandoned mansion has recently burned down, Michael and his friend Connie decide to explore the remains. Outside the mansion, Connie dares Michael to take a look inside, leading to a frightening encounter with the ghosts of its homeless inhabitants who had died in the fire. Michael does not know this yet, but his fearsome run in with the ghosts has given him a mysterious illness simply known as "The Fright". Michael wakes up the next morning to find out that "The Fright" has made him lose all of his hair. After a failed attempt with a wig (his wig was pulled off by an older boy during a fight in a soccer game), the ghosts visit Michael in his sleep and give him the recipe of a magical formula for hair growth, the main ingredient of which is peanut butter. Michael's first attempt to make the formula is thwarted when his father and sister think he is making something to ingest (rather than use topically) and dispose of it.

SOLUTION:
Where does Billy Baskin's son acquire The Fright?