nc33/multispan_quoref huggingface dataset:
Max, a Malinois used to help U.S. Marines in Afghanistan, is handled by Kyle Wincott  (Robbie Amell) (Marine MWD). Kyle is questioned when weapons seized by his squad go missing. Realizing his friend Tyler Harne is among those involved with the shady dealings, he warns Tyler that he cannot cover for him. The two then go into the battlefield with their squad, with Max on point. While advancing on a suicide bomber, Max is injured by an explosion. In the ensuing gunfight, Kyle is shot and killed.
Kyle's  brother Justin, who makes money selling illegally copied video games, their mother Pamela and their father Ray are informed of his death. After Kyle's body is brought home for burial, the other Marines notice that Max is only calm when he is around Justin, apparently sensing that he is Kyle's brother. The family adopts the dog, who would otherwise be euthanized for his disturbed behavior. Justin initially wants little to do with Max but eventually warms up to him. While meeting up with his friend Chuy, Justin meets Chuy's cousin Carmen, who offers to go to his house and show him some handling tricks for Max. Little by little, Max's behavior improves around other people.
Tyler visits the Wincott's one evening, provoking an aggressive response by Max. Later, after the Fourth of July, Ray asks Tyler what really happened. Tyler implies that Max turned on Kyle and caused him to discharge his weapon on himself, leading to his death. Justin decides to investigate the matter. Calling on one of Kyle's old friends, Sergeant Reyes, for help, he is given a DVD of Kyle training Max that moves him to tears.

Question: Who gets adopted?
Answer: Max
Max, a Malinois used to help U.S. Marines in Afghanistan, is handled by Kyle Wincott  (Robbie Amell) (Marine MWD). Kyle is questioned when weapons seized by his squad go missing. Realizing his friend Tyler Harne is among those involved with the shady dealings, he warns Tyler that he cannot cover for him. The two then go into the battlefield with their squad, with Max on point. While advancing on a suicide bomber, Max is injured by an explosion. In the ensuing gunfight, Kyle is shot and killed.
Kyle's  brother Justin, who makes money selling illegally copied video games, their mother Pamela and their father Ray are informed of his death. After Kyle's body is brought home for burial, the other Marines notice that Max is only calm when he is around Justin, apparently sensing that he is Kyle's brother. The family adopts the dog, who would otherwise be euthanized for his disturbed behavior. Justin initially wants little to do with Max but eventually warms up to him. While meeting up with his friend Chuy, Justin meets Chuy's cousin Carmen, who offers to go to his house and show him some handling tricks for Max. Little by little, Max's behavior improves around other people.
Tyler visits the Wincott's one evening, provoking an aggressive response by Max. Later, after the Fourth of July, Ray asks Tyler what really happened. Tyler implies that Max turned on Kyle and caused him to discharge his weapon on himself, leading to his death. Justin decides to investigate the matter. Calling on one of Kyle's old friends, Sergeant Reyes, for help, he is given a DVD of Kyle training Max that moves him to tears.

Question: Who was almost euthanized due to disturbed behavior?
Answer: Max
The film is a romantic thriller that starts off by showing a daring, well-planned robbery of a very famous and expensive painting from the MNAC art museum in Barcelona, Spain. The museum has many security features that are problematic for the thieves, but because of their skill they are able to circumvent the security and steal the famous El Greco Christ Carrying the Cross on display courtesy of Victor Boyd (Ed Lauter.)After the first heist, Sandra Walker, is called by her boss Victor Boyd and sent to Spain to ensure his El Greco is returned. Victor Boyd, the owner of the stolen El Greco, is a very rich and powerful businessman who Sandra works for as an art consultant. She is called in to find the stolen El Greco because she persuaded Victor to display it at the MNAC art museum, from which it was ultimately stolen.

While getting ready for her trip to Spain to track down the missing El Greco, the audience is given some insight into Sandra's life: She is separated from an NYPD detective, Bruce, and they have a young daughter together, Allison The couple appears to be going through a bit of a rough patch, but still seem to love each other. Sandra is able to convince her husband to watch their daughter while she's away. Bruce is skeptical of the whole situation and worried about Sandra's well-being.
Upon her arrival at the crime scene in Barcelona, Sandra is reunited with an old colleague of hers, Daniel, who was brought in to consult on the investigation. It quickly becomes apparent these two have a deep history and there are many secret feelings. The two of them make a great team and quickly narrow down the list of suspects to the ruthless Russian mobster Dimitri Maximov Dimitri is portrayed as a questionable individual who seems to be scheming some sort of master plan as the art heists continue. This plays right into Sandra and Daniel's suspicion that he is the culprit.

Question: Whose boss sends her to retrieve a stolen painting?
Answer: Sandra Walker
The film is a romantic thriller that starts off by showing a daring, well-planned robbery of a very famous and expensive painting from the MNAC art museum in Barcelona, Spain. The museum has many security features that are problematic for the thieves, but because of their skill they are able to circumvent the security and steal the famous El Greco Christ Carrying the Cross on display courtesy of Victor Boyd (Ed Lauter.)After the first heist, Sandra Walker, is called by her boss Victor Boyd and sent to Spain to ensure his El Greco is returned. Victor Boyd, the owner of the stolen El Greco, is a very rich and powerful businessman who Sandra works for as an art consultant. She is called in to find the stolen El Greco because she persuaded Victor to display it at the MNAC art museum, from which it was ultimately stolen.

While getting ready for her trip to Spain to track down the missing El Greco, the audience is given some insight into Sandra's life: She is separated from an NYPD detective, Bruce, and they have a young daughter together, Allison The couple appears to be going through a bit of a rough patch, but still seem to love each other. Sandra is able to convince her husband to watch their daughter while she's away. Bruce is skeptical of the whole situation and worried about Sandra's well-being.
Upon her arrival at the crime scene in Barcelona, Sandra is reunited with an old colleague of hers, Daniel, who was brought in to consult on the investigation. It quickly becomes apparent these two have a deep history and there are many secret feelings. The two of them make a great team and quickly narrow down the list of suspects to the ruthless Russian mobster Dimitri Maximov Dimitri is portrayed as a questionable individual who seems to be scheming some sort of master plan as the art heists continue. This plays right into Sandra and Daniel's suspicion that he is the culprit.

Question: What's the career of the person who is watching Sandra's daughter while she's in Spain?
Answer: NYPD detective
Francis Bigger is a charlatan faith healer, convinced that "mind over matter" is more effective than medical treatment. During a lecture, he stumbles offstage and is admitted to the local hospital. In hospital, he incessantly groans and whines about being "maltreated", demanding better treatment than the other, eccentric patients. These include: bedridden layabout Charlie Roper who shams illnesses to stay in hospital; Ken Biddle who makes frequent trips to the ladies' ward to flirt with his love interest, Mavis Winkle; and Mr Barron who seems to be suffering sympathy pains while his wife awaits the birth of their baby. While being treated, Bigger meets two very different doctors. Clumsy yet charming Dr Kilmore is popular with the patients and loved from afar by the beautiful Nurse Clark while hospital registrar Dr Tinkle is universally detested, as is his battleaxe Matron, who harbours an unrequited love for him.
After Bigger's arrival, novice nurse Sandra May, arrives at the hospital with her intention to declare her (questionable) love for Tinkle, and enters his room, violating hospital rules that female staff are not permitted in the male quarters. Matron and Kilmore burst in on her declarations of love, which are cruelly rebuffed by Tinkle. Matron throws Nurse May out, and she leaves while tearfully announcing she'd rather die than live without Tinkle. Dr Tinkle fears for his position after this incident, and contrives with Matron to get rid of Kilmore and Sandra May, lest they reveal the truth.

Question: Which doctor wants to get rid of Dr. Kilmore?
Answer: Dr Tinkle
Francis Bigger is a charlatan faith healer, convinced that "mind over matter" is more effective than medical treatment. During a lecture, he stumbles offstage and is admitted to the local hospital. In hospital, he incessantly groans and whines about being "maltreated", demanding better treatment than the other, eccentric patients. These include: bedridden layabout Charlie Roper who shams illnesses to stay in hospital; Ken Biddle who makes frequent trips to the ladies' ward to flirt with his love interest, Mavis Winkle; and Mr Barron who seems to be suffering sympathy pains while his wife awaits the birth of their baby. While being treated, Bigger meets two very different doctors. Clumsy yet charming Dr Kilmore is popular with the patients and loved from afar by the beautiful Nurse Clark while hospital registrar Dr Tinkle is universally detested, as is his battleaxe Matron, who harbours an unrequited love for him.
After Bigger's arrival, novice nurse Sandra May, arrives at the hospital with her intention to declare her (questionable) love for Tinkle, and enters his room, violating hospital rules that female staff are not permitted in the male quarters. Matron and Kilmore burst in on her declarations of love, which are cruelly rebuffed by Tinkle. Matron throws Nurse May out, and she leaves while tearfully announcing she'd rather die than live without Tinkle. Dr Tinkle fears for his position after this incident, and contrives with Matron to get rid of Kilmore and Sandra May, lest they reveal the truth.

Question: Which doctor wants to get rid of Sandra May?
Answer: Dr Tinkle
Francis Bigger is a charlatan faith healer, convinced that "mind over matter" is more effective than medical treatment. During a lecture, he stumbles offstage and is admitted to the local hospital. In hospital, he incessantly groans and whines about being "maltreated", demanding better treatment than the other, eccentric patients. These include: bedridden layabout Charlie Roper who shams illnesses to stay in hospital; Ken Biddle who makes frequent trips to the ladies' ward to flirt with his love interest, Mavis Winkle; and Mr Barron who seems to be suffering sympathy pains while his wife awaits the birth of their baby. While being treated, Bigger meets two very different doctors. Clumsy yet charming Dr Kilmore is popular with the patients and loved from afar by the beautiful Nurse Clark while hospital registrar Dr Tinkle is universally detested, as is his battleaxe Matron, who harbours an unrequited love for him.
After Bigger's arrival, novice nurse Sandra May, arrives at the hospital with her intention to declare her (questionable) love for Tinkle, and enters his room, violating hospital rules that female staff are not permitted in the male quarters. Matron and Kilmore burst in on her declarations of love, which are cruelly rebuffed by Tinkle. Matron throws Nurse May out, and she leaves while tearfully announcing she'd rather die than live without Tinkle. Dr Tinkle fears for his position after this incident, and contrives with Matron to get rid of Kilmore and Sandra May, lest they reveal the truth.

Question: Which doctor does Matron love?
Answer: Dr Tinkle
Francis Bigger is a charlatan faith healer, convinced that "mind over matter" is more effective than medical treatment. During a lecture, he stumbles offstage and is admitted to the local hospital. In hospital, he incessantly groans and whines about being "maltreated", demanding better treatment than the other, eccentric patients. These include: bedridden layabout Charlie Roper who shams illnesses to stay in hospital; Ken Biddle who makes frequent trips to the ladies' ward to flirt with his love interest, Mavis Winkle; and Mr Barron who seems to be suffering sympathy pains while his wife awaits the birth of their baby. While being treated, Bigger meets two very different doctors. Clumsy yet charming Dr Kilmore is popular with the patients and loved from afar by the beautiful Nurse Clark while hospital registrar Dr Tinkle is universally detested, as is his battleaxe Matron, who harbours an unrequited love for him.
After Bigger's arrival, novice nurse Sandra May, arrives at the hospital with her intention to declare her (questionable) love for Tinkle, and enters his room, violating hospital rules that female staff are not permitted in the male quarters. Matron and Kilmore burst in on her declarations of love, which are cruelly rebuffed by Tinkle. Matron throws Nurse May out, and she leaves while tearfully announcing she'd rather die than live without Tinkle. Dr Tinkle fears for his position after this incident, and contrives with Matron to get rid of Kilmore and Sandra May, lest they reveal the truth.

Question: Who did Matron and Dr. Kilmore burst in on as they declare thier love?
Answer: Sandra May
Francis Bigger is a charlatan faith healer, convinced that "mind over matter" is more effective than medical treatment. During a lecture, he stumbles offstage and is admitted to the local hospital. In hospital, he incessantly groans and whines about being "maltreated", demanding better treatment than the other, eccentric patients. These include: bedridden layabout Charlie Roper who shams illnesses to stay in hospital; Ken Biddle who makes frequent trips to the ladies' ward to flirt with his love interest, Mavis Winkle; and Mr Barron who seems to be suffering sympathy pains while his wife awaits the birth of their baby. While being treated, Bigger meets two very different doctors. Clumsy yet charming Dr Kilmore is popular with the patients and loved from afar by the beautiful Nurse Clark while hospital registrar Dr Tinkle is universally detested, as is his battleaxe Matron, who harbours an unrequited love for him.
After Bigger's arrival, novice nurse Sandra May, arrives at the hospital with her intention to declare her (questionable) love for Tinkle, and enters his room, violating hospital rules that female staff are not permitted in the male quarters. Matron and Kilmore burst in on her declarations of love, which are cruelly rebuffed by Tinkle. Matron throws Nurse May out, and she leaves while tearfully announcing she'd rather die than live without Tinkle. Dr Tinkle fears for his position after this incident, and contrives with Matron to get rid of Kilmore and Sandra May, lest they reveal the truth.

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

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

Question: What are the two earlier works that examined nudity by the artist who used the nude painting as the centerpiece in his teaching program?
Answer: The Gross Clinic, William Rush
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What was the name of the person that painted The Old Swimming Hole?
Answer: Eakins
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What painting did The Amon Carte Museum return to its orginal name?
Answer: The Old Swimming Hole
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What was the original name of the painting that featured an artificial lake in Mill Creek?
Answer: The Swimming Hole
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What painter possibly influenced Eakins in the painting of The Swimming Hole?
Answer: Frédéric Bazille
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What painting possibly influenced the painting The Swimming Hole?
Answer: Scène d'été
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What is the name of the person that gave lectures on Ancient Greek sculpture?
Answer: Eakins
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What were the two names that Eakins referred to the painting as?
Answer: Swimming, The Swimmers
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What was the first name of the person who titled the work The Old Swimming Hole?
Answer: Susan
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What was the name that Susan Macdowell Eakins changed the name of the painting before it was titled The Old Swimming Hole?
Answer: The Swimming Hole
Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (1849–1928), Benjamin Fox (c. 1865 – c. 1900), J. Laurie Wallace (1864–1953), Jesse Godley (1862–1889), Harry the dog (Eakins' Irish Setter, c. 1880–90), George Reynolds (c. 1839–89), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the work—no shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast.
The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scène d'été, painted in 1869 by Frédéric Bazille (1841–70). It is not unlikely that Eakins saw the painting at the Salon while studying in Paris, and would have been sympathetic to its depiction of male bathers in a modern setting.In Eakins' oeuvre, The Swimming Hole was immediately preceded by a number of similar works on the Arcadian theme. These correspond to lectures he gave on Ancient Greek sculpture and were inspired by the Pennsylvania Academy's casts of Phidias' Pan-Athenaic procession from the Parthenon marbles. A series of photographs, relief sculptures, and oil sketches culminated in the 1883 Arcadia, a painting that also featured nude figures—posed for by a student, a nephew, and the artist's fiancée—in a pastoral landscape.

Question: What are the last last names of the people in the painting?
Answer: Williams, Fox, Wallace, Godley, Reynolds, Eakins