In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

[Q]: Passage: Soon after the end of World War II a young English woman, Amy Atkins, goes back to the London flat where she and her best friend, Tillie Grey, once used to live. The housekeeper Mrs. Tubbs meets Amy and reveals to her that Tillie went ill right before she was off to America to look for the man she married during the war. Tillie died from her illness before she could make her journey, and left two orphaned twin children, Joyce and Johnny Jr. To honor her old friend and make her husband honour his obligations Amy decides to make the journey that Tillie had planned and complete task of finding her husband, Johnny. Amy modifies Tillie's new passport and travels to America by boat on the ticket Tillie had bought, posing as her best friend.
The only information Amy has about her best friend's husband is that his name is John "Johnny" Grey, and that he is supposed to reside in Rochester, NY. To get more information of the whereabouts of Johnny, she asks aid from the American Red Cross. Just when Amy is about to land at the docks in New York City, a man named John Grey - a New York architect living in Rochester - gets a telegram informing him of the arrival of his wife and children by boat. This John Grey (Franchot Tone is shocked, since he is about to marry the socialité daughter, Lois (Frances Rafferty, of his boss Mr. Evans of his architectural firm that same weekend. Thinking it may by chance be a man with the same name Johnny contacts all the "John Grey"s of Rochester to find out that none were married in England. 
Question: What is the last name of the socialite Louis' father?
[A]: Evans.


[Q]: Passage: The attribution of the panel reflects the progression and trends of 19th and 20th-century scholarship on Early Netherlandish art. It is now thought to have been completed c. 1438–40, but there are still arguments for dates as early as 1424–29. As with the pages ascribed to Hand G in the Turin-Milan Hours manuscript, the panel was attributed to Jan's brother Hubert van Eyck in the 1875 Gemäldegalerie catalogue, and by a 1911 claim by art historian Georges Hulin de Loo. This is no longer considered credible and Hubert, today, is credited with very few works. By 1912 the painting had been definitively attributed to Jan in the museum catalogue.Attempts to date it have undergone similar shifts of opinion. In the 19th century the panel was believed to be an early work by Jan completed as early as c. 1410, although this view changed as scholarship progressed. In the early 20th century, Ludwig von Baldass placed it around 1424–29, then for a long period it was seen as originating from the early 1430s. Erwin Panofsky provided the first detailed treatise on the work and placed it around 1432–34. However, following research from Meyer Schapiro, he revised his opinion to the late 1430s in the 1953 edition of his Early Netherlandish Painting. A 1970s comparative study of van Eyck's 1437 Saint Barbara concluded that Madonna in the Church was completed after c. 1437. In the 1990s, Otto Pächt judged the work as probably a late van Eyck, given the similar treatment of an interior in the 1434 Arnolfini Portrait. In the early 21st century, Jeffrey Chipps Smith and John Oliver Hand placed it between 1426 and 1428, claiming it as perhaps the earliest extant signed work confirmed as by Jan. 
Question: What is the full name of the person who is credited with very few works?
[A]: Hubert van Eyck.


[Q]: Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best". 
Question: Who said I was going to cut down all the trees?
[A]:
Ernest Freure.