nc33/multispan_quoref huggingface dataset:
Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.

Question: What is the name of the person who asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different?
Answer: Tedder
Soon after composing "Halo", Tedder worked with Kelly Clarkson on her fourth studio album, All I Ever Wanted (2009), for which they wrote "Already Gone" together. When the song came out, critics noted a resemblance to Beyoncé's "Halo". Clarkson, however, initially stated that she was unaware of any similarities between the two songs. She eventually realized their resemblance when she listened to both recordings closely; the similarities are most notable in the backing tracks, which in both cases feature a melancholy piano, loud drums, and handclaps. Clarkson tried to prevent "Already Gone" from being included on All I Ever Wanted, but it was impossible to make last minute changes, as her album was already being printed when I Am... Sasha Fierce was released. She accused Tedder of using the same arrangement on both "Already Gone" and "Halo", and complained that people would, incorrectly, assume she was stealing it from Beyoncé.Clarkson was furious, and confronted Tedder on the phone. In response, Tedder commented that he would never give two artists the same musical arrangement, and that her criticism was "hurtful and absurd". He asserted that the concept, melodies, and lyrics of "Already Gone" and "Halo" are completely different. Calling "Already Gone" one of the best songs he had ever composed, Tedder challenged people to "listen [to the two ballads] and form their own opinions". Clarkson also tried to stop her label, RCA, from releasing "Already Gone" as a single because she respected Beyoncé, but they went against her will and released it. She said, "It's one of those things I have no control over. I already made my album. At this point, the record company can do whatever they want with it." Clarkson later told James Montgomery of MTV News that it was unfortunate "Already Gone" and "Halo" sound so similar, but noted that at least they have different vocal melodies.

Question: What is the name of the label that went against Clarkson's will and released "Already Gone"?
Answer: RCA
U-153 is damaged during air attack in the Atlantic, and its crew abandon to escape Chlorine gas leakage due to broken battery cells. Her commanding officer is overcome by fumes before he can jettison the ship's papers. Aware of the intelligence windfall that this represents, the submarine is taken by a British prize crew to be examined and inspected (in much the same manner that befell the real German U-boat later renamed HMS Graph ).
It is not long before British intelligence suggest a new use for the submarine as a Trojan Horse. A picked crew of volunteers led by Commander Tarlton take the U-153 back to war, to intercept and disable a German Wolf-pack; in this they succeed, even sinking the Wolf-pack leader in their subsequent escape.
Her mission accomplished the U-153 is attacked and sunk by a British Frigate whose crew is oblivious to the submarine's mission or identity. Commander Tarlton orders his men to abandon ship, getting his crew off intact before she goes down. Their rescuers are astonished to learn that not only are the men they recover from the sea all British, but by attacking they have just sunk one of 'His Majesty's submarines…'

Question: What is U-153 at the time of its sinking?
Answer: one of 'His Majesty's submarines
U-153 is damaged during air attack in the Atlantic, and its crew abandon to escape Chlorine gas leakage due to broken battery cells. Her commanding officer is overcome by fumes before he can jettison the ship's papers. Aware of the intelligence windfall that this represents, the submarine is taken by a British prize crew to be examined and inspected (in much the same manner that befell the real German U-boat later renamed HMS Graph ).
It is not long before British intelligence suggest a new use for the submarine as a Trojan Horse. A picked crew of volunteers led by Commander Tarlton take the U-153 back to war, to intercept and disable a German Wolf-pack; in this they succeed, even sinking the Wolf-pack leader in their subsequent escape.
Her mission accomplished the U-153 is attacked and sunk by a British Frigate whose crew is oblivious to the submarine's mission or identity. Commander Tarlton orders his men to abandon ship, getting his crew off intact before she goes down. Their rescuers are astonished to learn that not only are the men they recover from the sea all British, but by attacking they have just sunk one of 'His Majesty's submarines…'

Question: What does the captured U-Boat destroy?
Answer: the Wolf-pack leader
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

Question: What is the full name of the person that accepted portrait commissions with reluctance?
Answer: Jean-Auguste-Dominique Ingres
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

Question: What is the full name of the person that was warm, wry and engaging?
Answer: Louis-François Bertin
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

Question: What is the full name of the person that had their restless energy and imposing bulk captured?
Answer: Louis-François Bertin
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

Question: What is the full name of the private person?
Answer: Louis-François Bertin
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

Question: What was praised at the Paris Salon of 1833?
Answer: Portrait of Monsieur Bertin
Portrait of Monsieur Bertin is an 1832 oil on canvas painting by Jean-Auguste-Dominique Ingres. It depicts Louis-François Bertin (1766–1841), the French writer, art collector and director of the pro-royalist Journal des débats. Ingres completed the portrait during his first period of success; having achieved acclaim as a history painter, he accepted portrait commissions with reluctance, regarding them as a distraction from more important work. Bertin was a friend and a politically active member of the French upper-middle class. Ingres presents him as a personification of the commercially minded leaders of the liberal reign of Louis Philippe I. He is physically imposing and self-assured, but his real-life personality shines through – warm, wry and engaging to those who had earned his trust.
The painting had a prolonged genesis. Ingres agonised over the pose and made several preparatory sketches. The final work faithfully captures the sitter's character, conveying both a restless energy and imposing bulk. It is an unflinchingly realistic depiction of ageing and emphasises the furrowed skin and thinning hair of an overweight man who yet maintains his resolve and determination. He sits in three-quarter profile against a brown ground lit from the right, his fingers are pronounced and highly detailed, while the polish of his chair reflects light from an unseen window.
Ingres' portrait of Bertin was a critical and popular success, but the sitter was a private person. Although his family worried about caricature and disapproved, it became widely known and sealed the artist's reputation. It was praised at the Paris Salon of 1833, and has been influential to both academic painters such as Léon Bonnat and later modernists including Pablo Picasso and Félix Vallotton. Today art critics regard it as Ingres' finest male portrait. It has been on permanent display at the Musée du Louvre since 1897.

Question: Where is the Portrait of Monsieur Bertin displayed?
Answer: Musée du Louvre
Bertin is presented as strong, energetic and warm-hearted. His hair is grey verging on white, his fingers spread across his knees. Bertin's fingers were described in 1959 by artist Henry de Waroquier as "crab-like claws ... emerging from the tenebrous caverns that are the sleeves of his coat." The bulk of his body is compacted in a tight black jacket, black trousers and brown satin waistcoat, with a starched white shirt and cravat revealing his open neck. He wears a gold watch and a pair of glasses in his right pocket. In the view of art historian Robert Rosenblum, his "nearly ferocious presence" is accentuated by the tightly constrained space. The chair and clothes appear too small to contain him. His coiled, stubby fingers rest on his thighs, barely protruding from the sleeves of his jacket, while his neck cannot be seen above his narrow starched white collar.
The painting is composed in monochrome, muted colours; predominately blacks, greys and browns. The exceptions are the whites of his collar and sleeves, the reds in the cushion and the light reflecting on the leather of the arm-chair. In 19th-century art, vivid colour was associated with femininity and emotion; male portraiture tended towards muted shades and monochrome. Bertin leans slightly forward, boldly staring at the viewer in a manner that is both imposing and paternal. He seems engaged, and poised to speak, his body fully towards the viewer and his expression etched with certainty. Influenced by Nicolas Poussin's 1650 Self-Portrait with Allegory of Painting, Ingres minutely details the veins and wrinkles of his face. Bertin is in three-quarter profile, against a gold–brown background lit from the right. He rests on a curved-back mahogany chair, the arms of which reflect light falling from the upper left of the pictorial space.

Question: What is the name of the person whose "nearly ferocious presence" is accentuated by a tightly constrained space?
Answer: Bertin
The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.

Question: The influence of what can be seen as in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein?
Answer: Bertin portrait
The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.

Question: What is the full name of the person whose invoking of Bertin can be read as a humorous reference to  "Stein's ponderous bulk and sexual preference"?
Answer: Pablo Picasso
The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.

Question: What is the title of the work whose influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Picasso's 1906 Portrait of Gertrude Stein?
Answer: The Bertin portrait
The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.

Question: What is the full name of the person who referred to Ingres throughout his career?
Answer: Pablo Picasso
The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.

Question: What is the full name of the person whose invoking of Bertin can be read as a humorous reference to "Stein's ponderous bulk and sexual preference"?
Answer: Pablo Picasso
The Bertin portrait has been hugely influential. At first it served as a model for depictions of energetic and intellectual 19th-century men, and later as a more universal type. Several 1890s works closely echo its form and motifs. Jean-Joseph Benjamin-Constant's monochrome and severe 1896 Portrait of Alfred Chauchard is heavily indebted, while Léon Bonnat's stern 1892 portrait of the aging Ernest Renan has been described as a "direct citation" of Ingres' portrait.
Its influence can be seen in the dismissive stare and overwhelming physical presence of the sitter in Pablo Picasso's 1906 Portrait of Gertrude Stein. Picasso admired Ingres and referred to him throughout his career. His invoking of Bertin can be read as a humorous reference to, according to Robert Rosenblum, "Stein's ponderous bulk and sexual preference". Stein does not possess Bertin's ironic stare, but is similarly dressed in black, and leans forward in an imposing manner, the painting emphasising her "massive, monumental presence". In 1907 the Swiss artist Félix Vallotton depicted Stein, in response to Picasso, making an even more direct reference to Ingres' portrait, prompting Édouard Vuillard to exclaim, "That's Madame Bertin!"The influence continued through the 20th century. Gerald Kelly recalled Bertin when painting his restless and confined series of portraits of Ralph Vaughan Williams between 1952 and 1961. In 1975 Marcel Broodthaers produced a series of nine black and white photographs on board based on Ingres' portraits of Bertin and Mademoiselle Caroline Rivière.

Question: What is the last name of the person whose "massive monumental presence" is emphasized in the painting?
Answer: Stein
In 1952, 10-year-old Larry Flynt is selling moonshine in Kentucky. Twenty years later, Flynt and his younger brother, Jimmy, run the Hustler Go-Go club in Cincinnati. With profits down, Flynt decides to publish a newsletter for the club, the first Hustler magazine, with nude pictures of women working at the club. The newsletter soon becomes a full-fledged magazine, but sales are weak. After Hustler publishes nude pictures of former first lady Jackie Kennedy Onassis, sales take off.
Flynt becomes smitten with Althea Leasure, a stripper who works at one of his clubs. With Althea and Jimmy's help, Flynt makes a fortune from sales of Hustler. With his success comes enemies - as he finds himself a hated figure of anti-pornography activists. He argues with the activists, saying that "murder is illegal, but if you take a picture of it, you may get your name in a magazine or maybe win a Pulitzer Prize. However, sex is legal, but if you take a picture of that act, you can go to jail." He becomes involved in several prominent court cases, and befriends a young lawyer, Alan Isaacman. In 1975, Flynt loses a smut-peddling court decision in Cincinnati but is released from jail soon afterwards on a technicality. Ruth Carter Stapleton, a Christian activist and sister of President Jimmy Carter, seeks out Flynt and urges him to give his life to Jesus. Flynt seems moved and starts letting his newfound religion influence everything in his life, including Hustler content.
In 1978, during another trial in Georgia, Flynt and Isaacman are both shot by a man with a rifle while they walk outside a courthouse. Isaacman recovers, but Flynt is paralyzed from the waist down and uses a wheelchair for the rest of his life. Wishing he was dead, Flynt renounces God. Because of the emotional and physical pain, he moves to Beverly Hills and spirals down into depression and drug use. During this time, Althea also becomes addicted to painkillers and morphine.

Question: What city did Larry Flynt move to after being shot and paralyzed?
Answer: Beverly Hills
In 1952, 10-year-old Larry Flynt is selling moonshine in Kentucky. Twenty years later, Flynt and his younger brother, Jimmy, run the Hustler Go-Go club in Cincinnati. With profits down, Flynt decides to publish a newsletter for the club, the first Hustler magazine, with nude pictures of women working at the club. The newsletter soon becomes a full-fledged magazine, but sales are weak. After Hustler publishes nude pictures of former first lady Jackie Kennedy Onassis, sales take off.
Flynt becomes smitten with Althea Leasure, a stripper who works at one of his clubs. With Althea and Jimmy's help, Flynt makes a fortune from sales of Hustler. With his success comes enemies - as he finds himself a hated figure of anti-pornography activists. He argues with the activists, saying that "murder is illegal, but if you take a picture of it, you may get your name in a magazine or maybe win a Pulitzer Prize. However, sex is legal, but if you take a picture of that act, you can go to jail." He becomes involved in several prominent court cases, and befriends a young lawyer, Alan Isaacman. In 1975, Flynt loses a smut-peddling court decision in Cincinnati but is released from jail soon afterwards on a technicality. Ruth Carter Stapleton, a Christian activist and sister of President Jimmy Carter, seeks out Flynt and urges him to give his life to Jesus. Flynt seems moved and starts letting his newfound religion influence everything in his life, including Hustler content.
In 1978, during another trial in Georgia, Flynt and Isaacman are both shot by a man with a rifle while they walk outside a courthouse. Isaacman recovers, but Flynt is paralyzed from the waist down and uses a wheelchair for the rest of his life. Wishing he was dead, Flynt renounces God. Because of the emotional and physical pain, he moves to Beverly Hills and spirals down into depression and drug use. During this time, Althea also becomes addicted to painkillers and morphine.

Question: Who wanted Larry Flynt to give his life to Jesus?
Answer: Ruth Carter Stapleton
In 1952, 10-year-old Larry Flynt is selling moonshine in Kentucky. Twenty years later, Flynt and his younger brother, Jimmy, run the Hustler Go-Go club in Cincinnati. With profits down, Flynt decides to publish a newsletter for the club, the first Hustler magazine, with nude pictures of women working at the club. The newsletter soon becomes a full-fledged magazine, but sales are weak. After Hustler publishes nude pictures of former first lady Jackie Kennedy Onassis, sales take off.
Flynt becomes smitten with Althea Leasure, a stripper who works at one of his clubs. With Althea and Jimmy's help, Flynt makes a fortune from sales of Hustler. With his success comes enemies - as he finds himself a hated figure of anti-pornography activists. He argues with the activists, saying that "murder is illegal, but if you take a picture of it, you may get your name in a magazine or maybe win a Pulitzer Prize. However, sex is legal, but if you take a picture of that act, you can go to jail." He becomes involved in several prominent court cases, and befriends a young lawyer, Alan Isaacman. In 1975, Flynt loses a smut-peddling court decision in Cincinnati but is released from jail soon afterwards on a technicality. Ruth Carter Stapleton, a Christian activist and sister of President Jimmy Carter, seeks out Flynt and urges him to give his life to Jesus. Flynt seems moved and starts letting his newfound religion influence everything in his life, including Hustler content.
In 1978, during another trial in Georgia, Flynt and Isaacman are both shot by a man with a rifle while they walk outside a courthouse. Isaacman recovers, but Flynt is paralyzed from the waist down and uses a wheelchair for the rest of his life. Wishing he was dead, Flynt renounces God. Because of the emotional and physical pain, he moves to Beverly Hills and spirals down into depression and drug use. During this time, Althea also becomes addicted to painkillers and morphine.

Question: Who is also shot with Larry Flynt?
Answer: Alan Isaacman
In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Question: What is the name of the crewman who educates the reluctant tank driver?
Answer: Samad
In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Question: What is the name of the khan is who spurred on by the opportunistic scavenger?
Answer: Taj
In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Question: Who is responsible for killing the brother of the Khan?
Answer: Daskal
In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Question: Who are the two people leading the fighters that are tracking the tank commander?
Answer: Taj, Moustafa
In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Question: Who plays the commander of the tank that kills Taj's brother?
Answer: George Dzundza
In 1981 Afghanistan, a Soviet tank unit viciously attacks a Pashtun village harboring a group of mujahideen fighters. Following the assault, one of the tanks—commanded by ruthless commander Daskal (George Dzundza)—takes a wrong turn through a mountain pass and enters a blind valley. Taj returns to discover the village destroyed, his father killed, and his brother martyred by being crushed under Daskal's tank. As the new khan following his brother's death, Taj is spurred to seek revenge by his cousin Moustafa, an opportunistic scavenger. Together they lead a band of mujahideen fighters into the valley to pursue Daskal's tank (which they call "The Beast"), counting on their captured RPG-7 anti-tank weapon to destroy it.
Lost, isolated, and with their radio damaged in the attack, the tank crew set out to find Kandahar Road and return to Soviet lines. While camping for the night, Afghan communist crewman Samad educates the reluctant tank driver, Konstantin Koverchenko, about the Pashtun people's code of honour, Pashtunwali; particularly nanawatai, which requires that an enemy is to be given sanctuary if he asks.

Question: Whose brother did The Beast kill?
Answer: Taj
In 1933, during the Great Depression, New York City vaudeville actress Ann Darrow is hired by financially troubled filmmaker Carl Denham to star in a film with Herb, Carl's cameraman, Mike, Carl's soundman, Preston, Carl's assistant, and actor Bruce Baxter. Ann learns her favorite playwright, Jack Driscoll, is the screenwriter. As their tramp steamer, the SS Venture, journeys to the mysterious Skull Island, Ann and Jack fall in love. The people on the ship consist of Englehorn the captain and his crew, including Hayes, a World War One veteran, Lumpy the cook, Choy the janitor, and the Venture's lookout Jimmy. Captain Englehorn has second thoughts about the voyage, prompted by Lumpy and Hayes' speculation of trouble ahead.
Deep in the southern waters, the Venture receives a radio message informing Englehorn there is a warrant for Carl's arrest due to his defiance of the studio's orders to cease production. The message instructs Englehorn to divert to Rangoon, but the ship becomes lost in fog and runs aground on the rocky shore of Skull Island. Carl and his crew explore the island and are attacked by natives, who kill Mike as well as one of the sailors. Ann screams as she is captured, and a loud roar is heard beyond a wall. After this, the matriarch of the tribe targets Ann, muttering the word "Kong". Englehorn kills one of the natives and his crew break up the attack. Back on the ship, they lighten their load to float off the rocks and carry out repairs, but Jack discovers Ann has been kidnapped and another sailor has been killed. The natives offer Ann as a sacrifice to Kong, a 25 feet (7.6 m) tall gorilla. The crew returns fully armed, but is too late as Kong takes Ann and flees into the jungle. Though initially terrified, Ann wins Kong over with juggling and dancing, and begins to grasp Kong's intelligence and capacity for emotion.

Question: What is the profession of the person who is killed by natives along with one of the sailors?
Answer: cameraman
In 1933, during the Great Depression, New York City vaudeville actress Ann Darrow is hired by financially troubled filmmaker Carl Denham to star in a film with Herb, Carl's cameraman, Mike, Carl's soundman, Preston, Carl's assistant, and actor Bruce Baxter. Ann learns her favorite playwright, Jack Driscoll, is the screenwriter. As their tramp steamer, the SS Venture, journeys to the mysterious Skull Island, Ann and Jack fall in love. The people on the ship consist of Englehorn the captain and his crew, including Hayes, a World War One veteran, Lumpy the cook, Choy the janitor, and the Venture's lookout Jimmy. Captain Englehorn has second thoughts about the voyage, prompted by Lumpy and Hayes' speculation of trouble ahead.
Deep in the southern waters, the Venture receives a radio message informing Englehorn there is a warrant for Carl's arrest due to his defiance of the studio's orders to cease production. The message instructs Englehorn to divert to Rangoon, but the ship becomes lost in fog and runs aground on the rocky shore of Skull Island. Carl and his crew explore the island and are attacked by natives, who kill Mike as well as one of the sailors. Ann screams as she is captured, and a loud roar is heard beyond a wall. After this, the matriarch of the tribe targets Ann, muttering the word "Kong". Englehorn kills one of the natives and his crew break up the attack. Back on the ship, they lighten their load to float off the rocks and carry out repairs, but Jack discovers Ann has been kidnapped and another sailor has been killed. The natives offer Ann as a sacrifice to Kong, a 25 feet (7.6 m) tall gorilla. The crew returns fully armed, but is too late as Kong takes Ann and flees into the jungle. Though initially terrified, Ann wins Kong over with juggling and dancing, and begins to grasp Kong's intelligence and capacity for emotion.

Question: What are the professions of the people who have speculation of trouble ahead?
Answer: World War One veteran, cook