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.

Input: Consider Input: Passage: The Avenue Range Station massacre was the murder of a group of Aboriginal Australians by white settlers during the Australian frontier wars. It occurred in about September 1848 at Avenue Range, a sheep station in the southeast of the Colony of South Australia.
Information is scarce about the basic facts of the massacre, including the exact date and number of victims. A contemporary account of the massacre listed nine victims – three women, two teenage girls, three infants, and an "old man blind and infirm". Another account published by Christina Smith in 1880 gave the number of victims as eleven, and specified that they belonged to the Tanganekald people. Pastoralist James Brown and his overseer, a man named Eastwood, were suspected of committing the murders in retaliation for attacks on Brown's sheep.
In January 1849, reports of the massacre reached Matthew Moorhouse, the Protector of Aborigines. He visited the district to investigate the claims, and based on his enquiries Brown was charged with the murders in March 1849. Proceedings against Brown began in June 1849 and continued in the Supreme Court of South Australia for several months, but were eventually abandoned. Some key witnesses, including Eastwood, either fled the colony or refused to cooperate with the investigation. There were also significant restrictions on the use of evidence given by Aboriginal witnesses, especially where a verdict could involve capital punishment. These legal hurdles and settler solidarity ensured the case did not go to trial, although the magistrate who committed him for trial told a friend that there was "little question of the butchery or the butcher".
Although the details of the case were known for decades after the murders, distortions of the massacre eventually appeared in print and were embellished by local white and Aboriginal historians. Two key aspects of these later accounts were that Brown poisoned rather than shot the victims, and that he had undertaken an epic horse ride to Adelaide to establish an alibi. Historians Robert Foster, Rick Hosking and Amanda Nettelbeck contend that these "pioneer legend" alterations downplayed the seriousness of the crime.

Output: The details of the case were known for decades after what murders?


Input: Consider Input: 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.

Output: What is the full name of the person who effectively legitimized Netherlandish art as a field of study?


Input: Consider Input: Passage: The Swimming Hole (also known as Swimming and The Old Swimming Hole) is an 1884–85 painting by the American artist Thomas Eakins (1844–1916), Goodrich catalog #190, in the collection of the Amon Carter Museum of American Art in Fort Worth, Texas. Executed in oil on canvas, it depicts six men swimming naked in a lake, and is considered a masterpiece of American painting. According to art historian Doreen Bolger it is "perhaps Eakins' most accomplished rendition of the nude figure", and has been called "the most finely designed of all his outdoor pictures". Since the Renaissance, the human body has been considered both the basis of artists' training and the most challenging subject to depict in art, and the nude was the centerpiece of Eakins' teaching program at the Pennsylvania Academy of the Fine Arts. For Eakins, this picture was an opportunity to display his mastery of the human form.
In this work, Eakins took advantage of an exception to the generally prudish Victorian attitude to nudity: swimming naked was widely accepted, and for males was seen as normal, even in public spaces. Eakins was the first American artist to portray one of the few occasions in 19th-century life when nudity was on display. The Swimming Hole develops themes raised in his earlier work, in particular his treatment of buttocks and his ambiguous treatment of the human form; in some cases it is uncertain as to whether the forms portrayed are male or female. Such themes had earlier been examined in his The Gross Clinic (1875) and William Rush (1877), and would continue to be explored in his paintings of boxers (Taking the Count, Salutat, and Between Rounds) and wrestlers (Wrestlers).Although the theme of male bathers was familiar in Western art, having been explored by artists from Michelangelo to Daumier, Eakins' treatment was novel in American art at the time. The Swimming Hole has been "widely cited as a prime example of homoeroticism in American art". In 2008, the art critic Tom Lubbock described Eakins' work as:
a classic of American painting. It shows a scene of healthy, manly, outdoor activity: a group of young fellows having stripped off for a dip. It is based on the swimming excursions that were enjoyed by the artist and his students. Eakins himself appears in the water at bottom right—in signature position, so to speak.".


Output: What is the full name of the art critic who said the work depicting six men swimming naked in a lake was "a classic of American painting"?