meithnav/squad huggingface dataset:
On the exterior, the verticality is emphasised in a major way by the towers and spires and in a lesser way by strongly projecting vertical buttresses, by narrow half-columns called attached shafts which often pass through several storeys of the building, by long narrow windows, vertical mouldings around doors and figurative sculpture which emphasises the vertical and is often attenuated. The roofline, gable ends, buttresses and other parts of the building are often terminated by small pinnacles, Milan Cathedral being an extreme example in the use of this form of decoration.

Question: What enhances the vertical look of the exterior of Gothic construction? 
Answer: the towers and spires

Question: What is one design element of Gothic construction that is often terminated by small pinnacles?
Answer: The roofline

Question: What is another design element of Gothic construction that is often terminated by small pinnacles?
Answer: gable ends

Question: Which cathedral demonstrates a drastic example of termination with small pinnacles?
Answer: Milan Cathedral

Question: What other part of Gothic buildings are often found terminated with small pinnacles?
Answer: buttresses
The distinctive characteristic of English cathedrals is their extreme length, and their internal emphasis upon the horizontal, which may be emphasised visually as much or more than the vertical lines. Each English cathedral (with the exception of Salisbury) has an extraordinary degree of stylistic diversity, when compared with most French, German and Italian cathedrals. It is not unusual for every part of the building to have been built in a different century and in a different style, with no attempt at creating a stylistic unity. Unlike French cathedrals, English cathedrals sprawl across their sites, with double transepts projecting strongly and Lady Chapels tacked on at a later date, such as at Westminster Abbey. In the west front, the doors are not as significant as in France, the usual congregational entrance being through a side porch. The West window is very large and never a rose, which are reserved for the transept gables. The west front may have two towers like a French Cathedral, or none. There is nearly always a tower at the crossing and it may be very large and surmounted by a spire. The distinctive English east end is square, but it may take a completely different form. Both internally and externally, the stonework is often richly decorated with carvings, particularly the capitals.

Question: What is the unique design feature of English cathedrals?
Answer: their extreme length

Question: What type of transepts do English cathedrals often feature? 
Answer: double transepts

Question: What size of window is typically featured on the west end of English cathedrals?
Answer: very large

Question: Where are rose windows used on English cathedrals?
Answer: the transept gables

Question: On English cathedrals, where is a tower almost always found?
Answer: at the crossing
The distinctive characteristic of Gothic cathedrals of the Iberian Peninsula is their spatial complexity, with many areas of different shapes leading from each other. They are comparatively wide, and often have very tall arcades surmounted by low clerestories, giving a similar spacious appearance to the 'Hallenkirche of Germany, as at the Church of the Batalha Monastery in Portugal. Many of the cathedrals are completely surrounded by chapels. Like English cathedrals, each is often stylistically diverse. This expresses itself both in the addition of chapels and in the application of decorative details drawn from different sources. Among the influences on both decoration and form are Islamic architecture and, towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front, as at Leon Cathedral, typically resembles a French west front, but wider in proportion to height and often with greater diversity of detail and a combination of intricate ornament with broad plain surfaces. At Burgos Cathedral there are spires of German style. The roofline often has pierced parapets with comparatively few pinnacles. There are often towers and domes of a great variety of shapes and structural invention rising above the roof.

Question: What is the distinctive design element of Gothic cathedrals of the Iberian Peninsula? 
Answer: their spatial complexity

Question: What size are the arcades of Gothic cathedrals of the Iberian Peninsula?
Answer: very tall arcades

Question: What type of architecture is a prominent influence on the design and form of Gothic cathedrals from the Iberian Peninsula? 
Answer: Islamic architecture

Question: What type of West front does the Leon Cathedral resemble?
Answer: a French west front

Question: What style are the spires at Burgos Cathedral?
Answer: German style
By the late Middle Ages university towns had grown in wealth and importance as well, and this was reflected in the buildings of some of Europe's ancient universities. Particularly remarkable examples still standing nowadays include the Collegio di Spagna in the University of Bologna, built during the 14th and 15th centuries; the Collegium Carolinum of the University of Prague in Bohemia; the Escuelas mayores of the University of Salamanca in Spain; the chapel of King's College, Cambridge; or the Collegium Maius of the Jagiellonian University in Kraków, Poland.

Question: In what era had university towns grown in wealth and importance?
Answer: the late Middle Ages

Question: What is the name of the university building in Bologna, built in the 14th and 15th centuries?
Answer: the Collegio di Spagna

Question: What is the name of the building at University of Prague in Bohemia?
Answer: the Collegium Carolinum

Question: What is the name of the secular building at the University of Salamanca in Spain? 
Answer: the Escuelas mayores

Question: What is the name of the secular building at the Jagiellonian University in Kraków, Poland?
Answer: the Collegium Maius
Other cities with a concentration of secular Gothic include Bruges and Siena. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

Question: What is one city with an accumulation of secular Gothic structures? 
Answer: Bruges

Question: What is another city with an accumulation of secular Gothic structures? 
Answer: Siena

Question: What style are most windows on secular Gothic structures?
Answer: flat-topped with mullions

Question: Where are pointed arches and vaulted ceilings found on most secular Gothic structures?
Answer: a few focal points

Question: What is the name of the surviving monastic building in England? 
Answer: Mont Saint-Michel
In England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass "low church" as well as "high church" clients. This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.

Question: When was neo-Gothic popularized by influential figures?
Answer: during the second quarter of the 19th century

Question: In Britain after 1837, what was the Gothic revival known as?
Answer: Victorian Gothic

Question: During what years was the High Victorian Gothic period in Britain?
Answer: 1855–1885

Question: What movement was responsible for the philosophy which led to the revival of Anglo Catholic ideas? 
Answer: the Oxford Movement

Question: Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for?
Answer: institutional architecture
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Question: What were the three offshoots of Cubism formed in France?
Answer: Orphism, Abstract art and later Purism

Question: What were the other offshoots formed in countries other than France?
Answer: Futurism, Suprematism, Dada, Constructivism and De Stijl

Question: Which offshoot had little in common with Cubism?
Answer: Futurist

Question: Which offshoot of cubism was influenced by Picasso? 
Answer: Constructivism
Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

Question: Between what years did cubism begin? 
Answer: 1907 and 1911

Question: In the spring of what year did the first organized exhibition by cubist appear?
Answer: 1911

Question: What was the name of the room that the first exhibition of Cubists took place?
Answer: Salle 41

Question: Who mentioned the landscapes made by Picasso in the first Cubist paintings? 
Answer: Gertrude Stein

Question: In what city did the first exhibition of Cubists take place?
Answer: Paris
Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

Question: What was the first phase of Cubism known as? 
Answer: Analytic Cubism

Question: Who coined the phrase Analytic Cubsim? 
Answer: Juan Gris

Question: What was the second phase of Cubism called? 
Answer: Synthetic Cubism

Question: From what years did High Cubism take place? 
Answer: 1909 to 1914

Question: From what years did Late Cubism take place? 
Answer: 1914 to 1921
The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."

Question: Who asserted that the flat canvas supported Cubism? 
Answer: Daniel-Henry Kahnweiler

Question: In what year was the assertion made that the flat canvas supported Cubism?
Answer: early as 1920

Question: When was the assertion that the flat canvas supported Cubism put into debate?
Answer: 1950s and 1960s,

Question: Who was the main opponent that began to argue that the flat canvas did not support Cubism? 
Answer: Clement Greenberg.

Question: Who's work undermined Douglass  Coopers terms describing Cubism?
Answer: Picasso, Braque, Gris and Léger
During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.

Question: Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art?
Answer: Paul Gauguin, Henri Matisse, and Pablo Picasso

Question: What about the Native cultures art inspired Matisse, Picasso, and Gauguin?
Answer: stark power and simplicity

Question: Who did Picasso meet around 1906 that had also recenelty learned about Primitivism? 
Answer: Gertrude Stein,

Question: What were Picasso's 1907 paintings usually characterized by? 
Answer: Protocubism
The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."

Question: Which two artists did Douglass Cooper say were very important to the forming of Cubism?
Answer: Paul Gauguin and Paul Cézanne

Question: What does Cooper say is the first  Cubist picture? 
Answer: The Demoiselles

Question: Is it true that the first Cubist picture is The Demoiselles? 
Answer: although it was a major first step towards Cubism it is not yet Cubist.
In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.

Question: Besides Seurat where else are the beginnigs of Cubism found?
Answer: in the two distinct tendencies of Cézanne's later work

Question: Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom?
Answer: Cézanne

Question: Cubism revolutionized the way things could be seen in art how? 
Answer: all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time.
The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

Question: What year did the term Cubism become used more?
Answer: 1911

Question: Which poet critic in 1911 with a group of poets accepted the term Cubism? 
Answer: Guillaume Apollinaire

Question: The artists of Passy included which two people?
Answer: Picabia and the Duchamp brothers
There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.

Question: Where did Picassos work until 1912? 
Answer: Montmartre

Question: Where did Braque and Gris stay until the end of the World War I?
Answer: Montmartre

Question: Where was Leger based around 1912? 
Answer: Montparnasse
In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Question: Which four people usually met at Fauconnier's studio in 1910?
Answer: Metzinger, Gleizes, Delaunay and Léger

Question: Where was Fauconnier's studio located? 
Answer: Boulevard de Montparnasse

Question: What did the group meeting at Fauconnier's studio want to focus on?
Answer: research into form, in opposition to the Neo-Impressionist emphasis on color.
At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

Question: In what year did the New York Times review the Salon d'Automne?
Answer: October 8, 1911

Question: What was the subtitle of the article published in 1911 in New York TImes about Cubism?
Answer: Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do

Question: List the artists who were featured in the Salon d'Automne? 
Answer: André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka
The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

Question: Which Duchamp presentation was displayed in the 1912 Salon des Independants?
Answer: Nude Descending a Staircase, No. 2

Question:  Was Duchamp's work considered controversial when displayed in 1912?
Answer: caused a scandal

Question: What were one of  Metzingers two showings in 1912's Salon des Independants? 
Answer: La Femme au Cheval (Woman with a horse) 1911-1912
The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

Question: Which politician made the front page of Le Journa in 1912 for his indignation? 
Answer: Jean Pierre Philippe Lampué

Question: Who defended the Cubists in the controversy of 1912?
Answer: Socialist deputy, Marcel Sembat.

Question: Towards which social topic did the Cubists  at the Salon d'Automne creat contrevesy towards? 
Answer: the use of government owned buildings,
It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

Question: What against did Metzinger and Gleizes write Du "Cubsime"? 
Answer: public anger

Question: Who published Du "Cubisme"?
Answer: Eugène Figuière

Question: In what year was  Du "Cubisme" published? 
Answer: 1912
The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

Question: What were Kupka's two entries at the Salon d'Automne? 
Answer: Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude

Question: What were the titles of Delaunay's paintings in 1912? 
Answer: Simultaneous Windows,

Question: During what years did  Leger produce Contrasts of Forms? 
Answer: 1913–14
Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

Question: By whom was Marcel Duchamp labeled an Orphanist? 
Answer: Apollinaire

Question: What two items did Duchamp attach together in 1913? 
Answer: a bicycle wheel to a kitchen stool

Question: What object did Duchamp select in 1914 as a scuplture by itself? 
Answer: bottle-drying rack
The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

Question: What did Christopher Green say of the difference between traditional cubist and Salon Cubists?
Answer: It is by no means clear, in any case

Question: Whom did Braque and Picasso aim their works at? 
Answer: large public
In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of ‘duration’ proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

Question: In Du Cubisme who so Metzinger and Gleizes  relate the sense of time to? 
Answer: Henri Bergson

Question: The Cubist used what kind of treatment of space and time?
Answer: The Salon Cubists
This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Question: What did the technique in Gliezes' piece Le Depiquage represent?
Answer: relative motion)

Question: Who painted the Wedding, show at Salon des Independants in 1912?
Answer: Léger

Question: Which of Gliezes pieces was featured at Salon de la Section d'Or? 
Answer: Le Dépiquage des Moissons (Harvest Threshing)
Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909–10), Les Arbres (1907) amongst other cubist works. Jacques Villon exhibited seven important and large drypoints, his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 (1912). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Question: What was the name of the show that introduced Cubism to the USA?
Answer: Armory Show

Question: In what city did the show that introduced Cubism to the USA take place? 
Answer: New York City

Question: Which 1907 piece did Picasso present in the show that introduced Cubism to the USA? 
Answer: Les Arbres

Question: What 1910 piece did Albert Gleizes present in that show that introduced Cubism to the USA? 
Answer: La Femme aux phlox
A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal (fr) as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I—such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration—had now been vacated, replaced by a purely formal frame of reference.

Question: What did the critic Maurice Raynal begin to refer to Cubism in around 1917-1920?
Answer: 'crystal' Cubism

Question: Who's concept of duration was left  behind for a for more concrete frame's of references? 
Answer: Henri Bergson's

Question: What was the first time period that a significant change began to happen in Cubism?
Answer: 1914 and 1916

Question: What was the second time period that a significant change began to happen in Cubism?
Answer: between 1917 and 1920
The most innovative period of Cubism was before 1914. After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, and Metzinger, while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler’s exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l’Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to claim that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d’Or in the same year, demonstrated it was still alive.

Question: Before what year was Cubism considered the most innovative? 
Answer: 1914

Question: With the assistance of what dealer did Cubism return as  a central consideration for artists after World War I?
Answer: Léonce Rosenberg

Question: In what year did Rosenberg exhibit Cubist works at  Galerie de l’Effort Moderne?
Answer: 1918

Question: In which city did Galerie de l’Effort Moderne take place? 
Answer: Paris
Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 (La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.

Question: In Cubism what was architechtural interested base on?
Answer: the dissolution and reconstitution of three-dimensional form

Question: Who said that Cubism was becoming an influetial aspect in modern architecture ? 
Answer: Raymond Duchamp-Villon and André Mare

Question: Increased use of what material marked Cubism influence in architecture?
Answer: glass
Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.

Question: The ideas of which Cubo Futurist influenced the avant-garde in architecture?
Answer: Filippo Tommaso Marinetti

Question: The De Stijl movement took part in the aesthetic principles of what?
Answer: Neo-plasticism

Question: Who developed Neo Plasticism? 
Answer: Piet Mondrian

Question: Who linked De Stijl to Cubist theory? 
Answer: Gino Severini

Question: Who did Le Corbusier open his Paris studio with in 1922?
Answer: his cousin Jeanneret
At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

Question: How big was the model of La Maison Cubiste? 
Answer: 10-by-3-meter

Question: Which Metzinger piece was hung in La Maison Cubiste?
Answer: Woman with a Fan

Question: What was La Maison Cubiste ?
Answer: a fully furnished house
In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows. Czech Cubist architects also designed Cubist furniture.

Question: What was the essential piece Cubist architects explained in their theoretical rules? 
Answer: dynamism

Question: What's  window shapes di Czech Cubist architects use? 
Answer: hexagonal

Question: What feelings should Cubist architecture evoke in viewer?
Answer: dynamism and expressive plasticity
The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol. They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient. Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912–1914, Josef Chochol designed several residential houses under Vyšehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913.

Question: Who were the leading Cubist architects? 
Answer: Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol

Question: Where did the leading Cubist architects work?
Answer: Prague

Question: What is the best known Cubist architecture building? 
Answer: House of the Black Madonna

Question: Where is the House of the Black Madonna located? 
Answer: Old Town of Prague

Question: Who built the House of the Black Madonna?
Answer: Vlastislav Hofman
The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada." Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet." Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' "Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.

Question: Which poets are closely alligned with Cubism?
Answer: Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy

Question: What is the name of the american Poet who is associated with talking about the rigiorous architecture of Cubism?
Answer: Kenneth Rexroth

Question: Which two American poets have recently created new traslations of Reverdy's work?
Answer: John Ashbery and Ron Padgett

Question: What is the name of Wallace Steven's work that explains how cubism can be translated into poetry? 
Answer: Thirteen Ways of Looking at a Blackbird
Islamic political philosophy, was, indeed, rooted in the very sources of Islam—i.e., the Qur'an and the Sunnah, the words and practices of Muhammad—thus making it essentially theocratic. However, in the Western thought, it is generally supposed that it was a specific area peculiar merely to the great philosophers of Islam: al-Kindi (Alkindus), al-Farabi (Abunaser), İbn Sina (Avicenna), Ibn Bajjah (Avempace), Ibn Rushd (Averroes), and Ibn Khaldun. The political conceptions of Islam such as kudrah (power), sultan, ummah, cemaa (obligation)-and even the "core" terms of the Qur'an—i.e., ibadah (worship), din (religion), rab (master) and ilah (deity)—is taken as the basis of an analysis. Hence, not only the ideas of the Muslim political philosophers but also many other jurists and ulama posed political ideas and theories. For example, the ideas of the Khawarij in the very early years of Islamic history on Khilafa and Ummah, or that of Shia Islam on the concept of Imamah are considered proofs of political thought. The clashes between the Ehl-i Sunna and Shia in the 7th and 8th centuries had a genuine political character.

Question: The clashes between Ehl-i Sunna and Shia had what kind of character? 
Answer: political

Question: Islamic political philosophy was rooted in what sources? 
Answer: Islam

Question: What is taken as the basis of an analysis?
Answer: The political conceptions of Islam