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.

Q: Passage: The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedländer's pioneering Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance.
Panofsky was one of the first art historians to abandon formalism. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pächt and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and Meyer Schapiro, that the attributions generally accepted today were established.

A: What is the full name of the person who effectively legitimized Netherlandish art as a field of study?
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Q: Passage: Massenet was a fluent and skilful orchestrator, and willingly provided ballet episodes for his operas, incidental music for plays, and a one-act stand-alone ballet for Vienna (Le carillon, 1892). Macdonald remarks that Massenet's orchestral style resembled that of Delibes, "with its graceful movement and bewitching colour", which was highly suited to classical French ballet. The Méditation for solo violin and orchestra, from Thaïs, is possibly the best known non-vocal piece by Massenet, and appears on many recordings. Another popular stand-alone orchestral piece from the operas is Le dernier sommeil de la Vierge from La Vierge, which has featured on numerous discs since the middle of the 20th century.A Parisian critic, after seeing La grand' tante, declared that Massenet was a symphonist rather than a theatre composer. At the time of the British premiere of Manon in 1885, the critic in The Manchester Guardian, reviewing the work enthusiastically, nevertheless echoed his French confrère's view that the composer was really a symphonist, whose music was at its best when purely orchestral.  Massenet took a wholly opposite view of his talents. He was temperamentally unsuited to writing symphonically: the constraints of sonata form bored him. He wrote, in the early 1870s, "What I have to say, musically, I have to say rapidly, forcefully, concisely; my discourse is tight and nervous, and if I wanted to express myself otherwise I would not be myself." His efforts in the concertante field made little mark, but his orchestral suites, colourful and picturesque according to Grove, have survived on the fringes of the repertoire.  Other works for orchestra are a symphonic poem, Visions (1891), an Ouverture de Concert (1863) and Ouverture de Phèdre (1873). After early attempts at chamber music as a student, he wrote little more in the genre. Most of his early chamber pieces are now lost; three pieces for cello and piano survive.

A: What is the name of the best known non-vocal piece by Massenet?
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Q: Passage: The first copies were delivered to bookstores on September 10. Many were wary of it, due to its technical nature, and feared that sales would be low. An exception was Scribner's Bookstores, which placed large early orders. At Oak Ridge, the Manhattan Project's major production site, 8,000 copies were sold through the employee welfare organization. Similar arrangements were made for Los Alamos and Richland, which were located in areas where bookstores were scarce.The Smyth Report was on The New York Times bestseller list from October 14, 1945, until January 20, 1946. Between 1946 and when the Smyth Report went out of print in 1973, it went through eight printings, and Princeton University Press sold 62,612 paperback and 64,129 hardback copies.Groves did not intend the Smyth Report to be the last word on the project. It formed an addendum to the Manhattan District History, the official history of the project. This eventually consisted of 35 volumes with 39 appendices or supplements. It was written in the immediate postwar years by the chemists, metallurgists, physicists, and administrators who had worked on the project. Since there were no security restrictions, it covered every aspect of the Manhattan Project, but was itself classified. Most of it was declassified in the 1960s and 1970s and became available to scholars, except for some technical details on the construction of the bombs.In her 2008 PhD dissertation, Rebecca Schwartz argued that Smyth's academic background and the Smyth Report's security-driven focus on physics at the expense of chemistry, metallurgy, and ordnance promoted a public perception of the Manhattan Project as primarily the achievement of physics and physicists. According to Schwartz, postwar histories and popular writing tended to follow the Smyth report in this regard, creating a lasting historiographical legacy. "Ever since", wrote Jon Agar, "the atomic bomb has been seen as an achievement of physics." In particular, the prominence given to Einstein's mass–energy equivalence equation indelibly associated it with the Manhattan Project. The Smyth Report, wrote Robert P. Crease, "more than any other single document made E = mc2 an emblem of atomic energy and weaponry."Groves felt that:
on the whole, and considering the rather difficult conditions under which it was prepared, the Smyth Report was extraordinarily successful in its efforts to distribute credit fairly and accurately. It would have been impossible to have prepared any document for publication covering the work of the Manhattan District that every reader would have found to his liking. But the fact is that all those who had the greatest knowledge of the subject were nearly unanimous in approving its publication as it was finally written. And there can be no question that it excellently served its purpose as an essential source of accurate information, particularly for a news-hungry America in the early days after Nagasaki.

A:
What was the date that The Smyth Report was first released?
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