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.

Ex Input:
Passage: By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists from the area attracted patronage from the Baltic coast, the north German and Polish regions, the Iberian Peninsula, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of art dealership as a profession; the activity became purely commercially driven, dominated by the mercantile class.
Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts' Justice for Emperor Otto III, van der Weyden's The Justice of Trajan and Herkinbald and David's Justice of Cambyses. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose St John Altarpiece for Bruges' Sint-Janshospitaal brought him additional civic commissions.Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants.  Although first-rank painters such as Petrus Christus and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges.

Ex Output:
What were the name of three paintings civic leaders commissioned from major artists?


Ex Input:
Passage: In the late 19th and early 20th centuries, child vaudevillian Buster Keaton stays in boarding houses, rides in train boxcars, and performs with his mother and father in a knock-about (physical comedy) act called The Three Keatons. As a young man Keaton travels on his own to Hollywood and tricks his way onto the grounds of silent-film studio Famous Studio as a workman carrying a board, as in one of his trademark comic bits. 
Sneaking onto a set, he attracts the attention of a young casting director, Gloria Brent. He demonstrates his type of physical comedy to a director Kurt Bergner, whom he does not impress. But Gloria recognizes his talent and recommends him to studio head Larry Winters, who offers him a contract. Keaton begins to get small parts in other people's pictures. As his comic talent becomes more apparent and his fame and money-making power grows, he is offered a contract to direct and star in his own silent films.
Dissatisfied with not sharing the profits of his films, he is told that he must invest in his own pictures in order to profit-share. He does in "The Gambler", which is released at the same time as Al Jolson's blockbuster talkie, "The Jazz Singer", reducing public interest in it. Buster struggles to adapt to performing in talking pictures.

Ex Output:
What is the full name of the person who fails to impress Kurt Bergner?


Ex Input:
Passage: Nielsen was born the seventh of twelve children to a poor peasant family on 9 June 1865 at Sortelung near Nørre Lyndelse, south of Odense on the island of Funen. His father, Niels Jørgensen, was a house painter and traditional musician who, with his abilities as a fiddler and cornet player, was in strong demand for local celebrations. Nielsen described his childhood in his autobiography Min Fynske Barndom (My Childhood on Funen). His mother, whom he recalls singing folk songs during his childhood, came from a well-to-do family of sea captains while one of his half-uncles, Hans Andersen (1837–1881), was a talented musician.Nielsen gave an account of his introduction to music: "I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin". He had received the instrument from his mother when he was six. He learned the violin and piano as a child and wrote his earliest compositions at the age of eight or nine: a lullaby, now lost, and a polka which the composer mentioned in his autobiography. As his parents did not believe he had any future as a musician, they apprenticed him to a shopkeeper from a nearby village when he was fourteen; the shopkeeper went bankrupt by midsummer and Nielsen had to return home. After learning to play brass instruments, on 1 November 1879 he became a bugler and alto trombonist in the band of the army's 16th Battalion at nearby Odense.Nielsen did not give up the violin during his time with the battalion, continuing to play it when he went home to perform at dances with his father. The army paid him three kroner and 45 øre and a loaf of bread every five days for two and a half years, after which his salary was raised slightly, enabling him to buy the civilian clothes he needed to perform at barn dances.

Ex Output:

What is the the name of the person whose father was a house painter and traditional musician?