nc33/multispan_quoref huggingface dataset:
Plans for a new building began to take shape in 1872 when the state legislature appropriated $100,000 ($ 2.1 million as of 2019) towards a new capitol building. This second capitol, built between 1873 and 1876, was a two-story structure with an additional first level that was partly underground; the total cost was $325,000 ($ 7.6 million as of 2019).  The cornerstone for the building was laid on October 5, 1873, during a ceremony that included a speech by Governor Stephen F. Chadwick and the music of several bands. Construction, on the same site as the 1855 building, was partly accomplished with convict labor from the Oregon State Penitentiary. Architects Justus F. Krumbein and W.G. Gilbert designed the building.Built of stone and five million bricks, Oregon's new capitol measured 275 by 136 feet (84 by 41 m) with a dome of 180 feet (55 m). The ground story was of native Oregon sandstone from the Umpqua region. The structure had a square rotunda on the interior that was 54 feet (16 m) tall. Also inside was a Senate chamber measuring 75 by 45 feet (23 by 14 m) and a House chamber of 85 by 75 feet (26 by 23 m). On the top floor was the Oregon Supreme Court with a courtroom measuring 54 by 45 feet (16 by 14 m) and the Oregon State Law Library, 75 by 70 feet (23 by 21 m). Also on the top floor was a viewing gallery for the House.  On the exterior were ornamental pilasters and two-story porticos on the east and west ends. The building included a lunch counter. Additionally, the building had mullion-windowed wings. The large copper-clad dome was constructed with an iron and steel framework. This dome rose 54 feet (16 m) above the rest of the building and was 100 feet (30 m) tall. The building was of Renaissance style with Corinthian columns on the front entrance and was patterned after the United States Capitol. At that time, the capitol faced west toward the Willamette River. The government began using the building in August 1876, before the dome was built. Originally, plans called for towers on both sides of the dome (a tower on both ends of the building with the dome in the middle), but they were left out to save money. Oregon's second capitol building stood from 1876 to 1935.

Question: In what year did the government begin to use the capitol building that faced the Willamette River?
Answer: 1876
Plans for a new building began to take shape in 1872 when the state legislature appropriated $100,000 ($ 2.1 million as of 2019) towards a new capitol building. This second capitol, built between 1873 and 1876, was a two-story structure with an additional first level that was partly underground; the total cost was $325,000 ($ 7.6 million as of 2019).  The cornerstone for the building was laid on October 5, 1873, during a ceremony that included a speech by Governor Stephen F. Chadwick and the music of several bands. Construction, on the same site as the 1855 building, was partly accomplished with convict labor from the Oregon State Penitentiary. Architects Justus F. Krumbein and W.G. Gilbert designed the building.Built of stone and five million bricks, Oregon's new capitol measured 275 by 136 feet (84 by 41 m) with a dome of 180 feet (55 m). The ground story was of native Oregon sandstone from the Umpqua region. The structure had a square rotunda on the interior that was 54 feet (16 m) tall. Also inside was a Senate chamber measuring 75 by 45 feet (23 by 14 m) and a House chamber of 85 by 75 feet (26 by 23 m). On the top floor was the Oregon Supreme Court with a courtroom measuring 54 by 45 feet (16 by 14 m) and the Oregon State Law Library, 75 by 70 feet (23 by 21 m). Also on the top floor was a viewing gallery for the House.  On the exterior were ornamental pilasters and two-story porticos on the east and west ends. The building included a lunch counter. Additionally, the building had mullion-windowed wings. The large copper-clad dome was constructed with an iron and steel framework. This dome rose 54 feet (16 m) above the rest of the building and was 100 feet (30 m) tall. The building was of Renaissance style with Corinthian columns on the front entrance and was patterned after the United States Capitol. At that time, the capitol faced west toward the Willamette River. The government began using the building in August 1876, before the dome was built. Originally, plans called for towers on both sides of the dome (a tower on both ends of the building with the dome in the middle), but they were left out to save money. Oregon's second capitol building stood from 1876 to 1935.

Question: What year did the state that has a State Law Library measuring 75 by 70 feet stop using its second capitol building?
Answer: 1935
Plans for a new building began to take shape in 1872 when the state legislature appropriated $100,000 ($ 2.1 million as of 2019) towards a new capitol building. This second capitol, built between 1873 and 1876, was a two-story structure with an additional first level that was partly underground; the total cost was $325,000 ($ 7.6 million as of 2019).  The cornerstone for the building was laid on October 5, 1873, during a ceremony that included a speech by Governor Stephen F. Chadwick and the music of several bands. Construction, on the same site as the 1855 building, was partly accomplished with convict labor from the Oregon State Penitentiary. Architects Justus F. Krumbein and W.G. Gilbert designed the building.Built of stone and five million bricks, Oregon's new capitol measured 275 by 136 feet (84 by 41 m) with a dome of 180 feet (55 m). The ground story was of native Oregon sandstone from the Umpqua region. The structure had a square rotunda on the interior that was 54 feet (16 m) tall. Also inside was a Senate chamber measuring 75 by 45 feet (23 by 14 m) and a House chamber of 85 by 75 feet (26 by 23 m). On the top floor was the Oregon Supreme Court with a courtroom measuring 54 by 45 feet (16 by 14 m) and the Oregon State Law Library, 75 by 70 feet (23 by 21 m). Also on the top floor was a viewing gallery for the House.  On the exterior were ornamental pilasters and two-story porticos on the east and west ends. The building included a lunch counter. Additionally, the building had mullion-windowed wings. The large copper-clad dome was constructed with an iron and steel framework. This dome rose 54 feet (16 m) above the rest of the building and was 100 feet (30 m) tall. The building was of Renaissance style with Corinthian columns on the front entrance and was patterned after the United States Capitol. At that time, the capitol faced west toward the Willamette River. The government began using the building in August 1876, before the dome was built. Originally, plans called for towers on both sides of the dome (a tower on both ends of the building with the dome in the middle), but they were left out to save money. Oregon's second capitol building stood from 1876 to 1935.

Question: How many feet tall was the dome on the Renaissance style building with Corinthian columns?
Answer: 100
The Oregon State Capitol is home to both branches of the state legislature, the House and Senate, and has offices for the governor, treasurer, and the secretary of state. In its center, the floor of the prominent rotunda features an embedded Oregon State Seal sculpted in bronze by Ulric Ellerhusen. Ellerhusen also sculpted the Oregon Pioneer that rests atop the capitol dome's exterior. The dome rises 106 feet (32 m) above the state seal. The interior of the dome was painted by Frank H. Schwarz and features 33 stars, symbolizing Oregon's place as the 33rd state to join the Union. Eight medallions are painted near the top of the walls of the rotunda that represent the eight objects in the state seal. Also encircling the interior of the rotunda are four murals depicting moments from Oregon history. One mural depicts Captain Robert Gray's exploration of the Columbia River in 1792, another shows the Lewis and Clark Expedition, and two others portray covered wagons from pioneer times. These four murals were painted by Schwarz and Barry Faulkner. Other murals include the Provisional Government of Oregon's salmon and wheat seal, the Oregon Territory's seal, and depictions of Oregon's industries, all located in the rotunda's wings along the grand staircase. The capitol's galleria area on the first floor includes hearing rooms, display cases, and the visitor information area.Oregon's House chamber floor is covered with a custom carpet; the carpet's pattern incorporates a depiction of the state tree, the Douglas-fir, representative of forestry. The furniture and paneling of the chamber is made of golden oak. A large mural painted by Faulkner, depicting the 1843 Champoeg Meetings at which the provisional government was formed, is behind the desk of the Speaker of the House. The Senate chambers use black walnut for the paneling and furniture. Another custom carpet lines the floor, featuring Chinook salmon and wheat, representative of fishing and agriculture. The Senate's large mural was painted by Schwarz and depicts a street scene showing news of statehood reaching Salem. Lining the walls of both chambers are 158 names, inscribed in friezes, of prominent people in Oregon's history. On the second floor of the capitol is the Governor's suite, consisting of a ceremonial office and private offices for the state's chief executive. As in the Senate chamber, the paneling is of black walnut. The ceremonial office includes a fireplace with a painting by Faulkner. In the suite's reception area is a table made of 40 tree species. This table is inlaid with a replica of Oregon's second capitol building, the state flower (Oregon-grape), and the state bird (western meadowlark).

Question: What were the first names of the people who painted the four murals of Oregon history in the rotunda?
Answer: Frank, Barry
The Oregon State Capitol is home to both branches of the state legislature, the House and Senate, and has offices for the governor, treasurer, and the secretary of state. In its center, the floor of the prominent rotunda features an embedded Oregon State Seal sculpted in bronze by Ulric Ellerhusen. Ellerhusen also sculpted the Oregon Pioneer that rests atop the capitol dome's exterior. The dome rises 106 feet (32 m) above the state seal. The interior of the dome was painted by Frank H. Schwarz and features 33 stars, symbolizing Oregon's place as the 33rd state to join the Union. Eight medallions are painted near the top of the walls of the rotunda that represent the eight objects in the state seal. Also encircling the interior of the rotunda are four murals depicting moments from Oregon history. One mural depicts Captain Robert Gray's exploration of the Columbia River in 1792, another shows the Lewis and Clark Expedition, and two others portray covered wagons from pioneer times. These four murals were painted by Schwarz and Barry Faulkner. Other murals include the Provisional Government of Oregon's salmon and wheat seal, the Oregon Territory's seal, and depictions of Oregon's industries, all located in the rotunda's wings along the grand staircase. The capitol's galleria area on the first floor includes hearing rooms, display cases, and the visitor information area.Oregon's House chamber floor is covered with a custom carpet; the carpet's pattern incorporates a depiction of the state tree, the Douglas-fir, representative of forestry. The furniture and paneling of the chamber is made of golden oak. A large mural painted by Faulkner, depicting the 1843 Champoeg Meetings at which the provisional government was formed, is behind the desk of the Speaker of the House. The Senate chambers use black walnut for the paneling and furniture. Another custom carpet lines the floor, featuring Chinook salmon and wheat, representative of fishing and agriculture. The Senate's large mural was painted by Schwarz and depicts a street scene showing news of statehood reaching Salem. Lining the walls of both chambers are 158 names, inscribed in friezes, of prominent people in Oregon's history. On the second floor of the capitol is the Governor's suite, consisting of a ceremonial office and private offices for the state's chief executive. As in the Senate chamber, the paneling is of black walnut. The ceremonial office includes a fireplace with a painting by Faulkner. In the suite's reception area is a table made of 40 tree species. This table is inlaid with a replica of Oregon's second capitol building, the state flower (Oregon-grape), and the state bird (western meadowlark).

Question: What is the first name of the person who painted the mural depicting the 1843 Champoeg Meetings at which the provisional government was formed?
Answer: Barry
The Oregon State Capitol is home to both branches of the state legislature, the House and Senate, and has offices for the governor, treasurer, and the secretary of state. In its center, the floor of the prominent rotunda features an embedded Oregon State Seal sculpted in bronze by Ulric Ellerhusen. Ellerhusen also sculpted the Oregon Pioneer that rests atop the capitol dome's exterior. The dome rises 106 feet (32 m) above the state seal. The interior of the dome was painted by Frank H. Schwarz and features 33 stars, symbolizing Oregon's place as the 33rd state to join the Union. Eight medallions are painted near the top of the walls of the rotunda that represent the eight objects in the state seal. Also encircling the interior of the rotunda are four murals depicting moments from Oregon history. One mural depicts Captain Robert Gray's exploration of the Columbia River in 1792, another shows the Lewis and Clark Expedition, and two others portray covered wagons from pioneer times. These four murals were painted by Schwarz and Barry Faulkner. Other murals include the Provisional Government of Oregon's salmon and wheat seal, the Oregon Territory's seal, and depictions of Oregon's industries, all located in the rotunda's wings along the grand staircase. The capitol's galleria area on the first floor includes hearing rooms, display cases, and the visitor information area.Oregon's House chamber floor is covered with a custom carpet; the carpet's pattern incorporates a depiction of the state tree, the Douglas-fir, representative of forestry. The furniture and paneling of the chamber is made of golden oak. A large mural painted by Faulkner, depicting the 1843 Champoeg Meetings at which the provisional government was formed, is behind the desk of the Speaker of the House. The Senate chambers use black walnut for the paneling and furniture. Another custom carpet lines the floor, featuring Chinook salmon and wheat, representative of fishing and agriculture. The Senate's large mural was painted by Schwarz and depicts a street scene showing news of statehood reaching Salem. Lining the walls of both chambers are 158 names, inscribed in friezes, of prominent people in Oregon's history. On the second floor of the capitol is the Governor's suite, consisting of a ceremonial office and private offices for the state's chief executive. As in the Senate chamber, the paneling is of black walnut. The ceremonial office includes a fireplace with a painting by Faulkner. In the suite's reception area is a table made of 40 tree species. This table is inlaid with a replica of Oregon's second capitol building, the state flower (Oregon-grape), and the state bird (western meadowlark).

Question: What is the first name of the person who painted the painting with the fireplace in the ceremonial office?
Answer: Barry
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who moved to London "with a few pieces of chalk crayons"?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who moved with the intention of becoming a history painter in the tradition of the Old Masters?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who studied under renowned artist Thomas Lawrence?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who was elected a full Royal Academician in 1828?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who became well respected for his ability to capture flesh tones accurate in painting?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who was known for their fascination with contrasts in skin tones?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who moved to London after his seven-year apprenticeship?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person whose intention was becoming a history painter in the tradition of the Old Masters?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who was admired by fellow artists?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who was elected a Royal Academician in 1828?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who became well respected for his ability to capture flesh tones accurately in painting?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person who became well known for his fascination with contrasts in skin tones?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person whose portraits of male nudes were generally well received?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person whose work "The Arrival of Cleopatra in Cilicia" was extremely well received?
Answer: Etty
William Etty (1787–1849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.

Question: What is the last name of the person whose repeated depictions of female nudity was criticized as indecent?
Answer: Etty