nc33/multispan_quoref huggingface dataset:
In mid-1833 Etty began a portrait of the daughters of Charles Watkin Williams-Wynn, the long-serving Conservative Member of Parliament for Montgomeryshire, shown Preparing for a Fancy Dress Ball . Etty was then little-known for portraits, but had recently completed Elizabeth Potts, a portrait of the daughter of a family friend, which although poorly received by some critics was technically highly accomplished. He said at the time that he hoped his portrait of the Williams-Wynn children would be "one of my best".In February 1834, Etty became seriously ill, and was incapacitated for four months. Unable to paint, he exhibited only two already-completed paintings in the 1834 Summer Exhibition, Elizabeth Potts and The Cardinal. In June of that year he left London to convalesce, renting a cottage in York. Weak and unable to concentrate, Etty painted very little, and spend the next few months visiting friends and touring the sights of Yorkshire. Gradually regaining his health, he returned to London in December 1834, and resumed work on those paintings he had left incomplete on the onset of his illness.
We must, indeed, be more serious with this gentleman [Etty] than is our wont, for the "Society for the Suppression of Vice" are not to be excused for their prosecutions in cases of obscene publications, and the Lord Mayor himself deserves at once to be sent to the tread-mill for imprisoning a little Italian boy for hawking about the streets a naked Cupid, if such lascivious scenes, such gross insults to morality and decency, are allowed to be exhibited at the Roy. Acad. with impunity. A Brothel on fire, which had driven all the Paphian Nymphs out from their beds into the court-yard, would be a modest exhibition compared to this—for they would at least exhibit en chemise. Several ladies, we know, were deterred from going into this corner of the room to see Leslie's, Webster's, and other pictures of great merit there, to avoid the offence and disgrace Mr. E. has conferred on that quarter ... Really, really, if Mr. E., with all his power of colour, turn his drawings of the human figure to no honester purpose—if the absence of all taste and decency is to mark his Academical studies, it is high time that he had a hint from an authority which neither he nor the Council of the Academy will dare to treat slightly. The Archbishop of Canterbury and some of our Bishops are fond of the arts—what say they to them in this shape?
In August 1835 Etty spent a brief holiday in Shropshire, where he delivered Venus and Her Satellites to Owen. While en route back he made a detour to Manchester to visit an art exhibition; while there he made the acquaintance of wealthy cotton merchant Daniel Grant.

Question: What is the name of the person who hoped his portrait of the Williams-Wynn children would be "one of my best"?
Answer: Etty
In mid-1833 Etty began a portrait of the daughters of Charles Watkin Williams-Wynn, the long-serving Conservative Member of Parliament for Montgomeryshire, shown Preparing for a Fancy Dress Ball . Etty was then little-known for portraits, but had recently completed Elizabeth Potts, a portrait of the daughter of a family friend, which although poorly received by some critics was technically highly accomplished. He said at the time that he hoped his portrait of the Williams-Wynn children would be "one of my best".In February 1834, Etty became seriously ill, and was incapacitated for four months. Unable to paint, he exhibited only two already-completed paintings in the 1834 Summer Exhibition, Elizabeth Potts and The Cardinal. In June of that year he left London to convalesce, renting a cottage in York. Weak and unable to concentrate, Etty painted very little, and spend the next few months visiting friends and touring the sights of Yorkshire. Gradually regaining his health, he returned to London in December 1834, and resumed work on those paintings he had left incomplete on the onset of his illness.
We must, indeed, be more serious with this gentleman [Etty] than is our wont, for the "Society for the Suppression of Vice" are not to be excused for their prosecutions in cases of obscene publications, and the Lord Mayor himself deserves at once to be sent to the tread-mill for imprisoning a little Italian boy for hawking about the streets a naked Cupid, if such lascivious scenes, such gross insults to morality and decency, are allowed to be exhibited at the Roy. Acad. with impunity. A Brothel on fire, which had driven all the Paphian Nymphs out from their beds into the court-yard, would be a modest exhibition compared to this—for they would at least exhibit en chemise. Several ladies, we know, were deterred from going into this corner of the room to see Leslie's, Webster's, and other pictures of great merit there, to avoid the offence and disgrace Mr. E. has conferred on that quarter ... Really, really, if Mr. E., with all his power of colour, turn his drawings of the human figure to no honester purpose—if the absence of all taste and decency is to mark his Academical studies, it is high time that he had a hint from an authority which neither he nor the Council of the Academy will dare to treat slightly. The Archbishop of Canterbury and some of our Bishops are fond of the arts—what say they to them in this shape?
In August 1835 Etty spent a brief holiday in Shropshire, where he delivered Venus and Her Satellites to Owen. While en route back he made a detour to Manchester to visit an art exhibition; while there he made the acquaintance of wealthy cotton merchant Daniel Grant.

Question: What is the name of the person who exhibited only two already-completed paintings in the 1834 Summer Exhibition?
Answer: Etty
In the same year, Etty painted the first version of Musidora: The Bather 'At the Doubtful Breeze Alarmed', an illustration from the poem Summer by James Thomson and arguably Etty's last history painting painted while he still had all his powers. Musidora shows a scene in which the titular character, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream", unknowing that she is being watched by her suitor Damon. Etty's composition is shown from the viewpoint of Damon; by so doing Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome". Musidora met with almost universal acclaim, compared favourably to Titian and Rembrandt, and described by The Critic as "a preeminent work" and "the triumph of the British school".By the time Musidora was exhibited, Etty's health was in serious decline. Suffering severe asthma, it was not unusual for passers-by to accuse him of drunkenness as he made his way wheezing through the London streets, and he was beginning to plan his retirement from polluted London to his beloved York. Abandoning the smaller paintings which kept him profitable, he strived to complete his Joan of Arc triptych before his health gave out. This was on a huge scale, 28 ft (8.5 m) in total width and 9 ft 9 in (3 m) high; the three pictures from left to right depicted Joan devoting herself to the service of God and her country, Joan scattering the enemies of France, and Joan dying a martyr.Etty sold the triptych for the huge sum of 2500 guineas (about £240,000 in 2019 terms) to dealer Richard Colls and the engraver C. W. Wass. Colls and Wass had ambitious plans to recoup their money by selling engravings of the pictures and by taking the paintings on a tour of Britain and Europe. The paintings proved less popular than expected. Very few engravings were sold and the tours did not take place; Wass declared bankruptcy in 1852. The paintings were separated, and sold on to a series of buyers, with the third panel fetching just 7​1⁄2 guineas in 1893 as Etty's popularity continued to wane. By the 1950s all three panels of Joan of Arc were believed lost or destroyed, although some preliminary studies survive.

Question: What is the full name of the person depicted as devoting herself to the service of God and her country?
Answer: Joan of Arc
In the same year, Etty painted the first version of Musidora: The Bather 'At the Doubtful Breeze Alarmed', an illustration from the poem Summer by James Thomson and arguably Etty's last history painting painted while he still had all his powers. Musidora shows a scene in which the titular character, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream", unknowing that she is being watched by her suitor Damon. Etty's composition is shown from the viewpoint of Damon; by so doing Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome". Musidora met with almost universal acclaim, compared favourably to Titian and Rembrandt, and described by The Critic as "a preeminent work" and "the triumph of the British school".By the time Musidora was exhibited, Etty's health was in serious decline. Suffering severe asthma, it was not unusual for passers-by to accuse him of drunkenness as he made his way wheezing through the London streets, and he was beginning to plan his retirement from polluted London to his beloved York. Abandoning the smaller paintings which kept him profitable, he strived to complete his Joan of Arc triptych before his health gave out. This was on a huge scale, 28 ft (8.5 m) in total width and 9 ft 9 in (3 m) high; the three pictures from left to right depicted Joan devoting herself to the service of God and her country, Joan scattering the enemies of France, and Joan dying a martyr.Etty sold the triptych for the huge sum of 2500 guineas (about £240,000 in 2019 terms) to dealer Richard Colls and the engraver C. W. Wass. Colls and Wass had ambitious plans to recoup their money by selling engravings of the pictures and by taking the paintings on a tour of Britain and Europe. The paintings proved less popular than expected. Very few engravings were sold and the tours did not take place; Wass declared bankruptcy in 1852. The paintings were separated, and sold on to a series of buyers, with the third panel fetching just 7​1⁄2 guineas in 1893 as Etty's popularity continued to wane. By the 1950s all three panels of Joan of Arc were believed lost or destroyed, although some preliminary studies survive.

Question: What are the full names of the people who had ambitious plans to recoup their money by selling engravings of the pictures?
Answer: Richard Colls, C. W. Wass
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87.
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness". Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour. As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as The Knight Errant owes a strong debt to Etty's influence.

Question: What is the first name of the person who neglected to cover the necessary costs of his burial in his will?
Answer: William
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87.
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness". Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour. As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as The Knight Errant owes a strong debt to Etty's influence.

Question: What is the name of the person that had their contents auctioned on 6 May 1850?
Answer: Etty
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87.
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness". Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour. As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as The Knight Errant owes a strong debt to Etty's influence.

Question: What artist had 900 paintings auctioned off after their death?
Answer: Etty
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87.
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness". Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour. As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as The Knight Errant owes a strong debt to Etty's influence.

Question: What is the name of the person that was continued to be regarded as a pornographer by some?
Answer: Etty
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87.
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness". Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour. As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as The Knight Errant owes a strong debt to Etty's influence.

Question: What is the full name of the person that had a house in Haymarket?
Answer: Stephen Binnington
Etty had planned for a burial in York Minster, but neglected to cover the necessary costs in his will. With Yorkshire local government in political and financial chaos in the wake of the bankruptcy of George Hudson, there was no political will to organise a public subscription or to waive the fees, and as a consequence Etty was buried in the churchyard of St Olave's Church, his local parish church. On 6 May 1850 the contents of his studio were auctioned, in a total of 1034 lots including around 900 paintings; some of these paintings were incomplete studies later completed by other artists to increase their value. In the years following his death Etty's work became highly collectable, his works fetching huge sums on resale. He continued to be regarded as a pornographer by some, with Charles Robert Leslie observing in 1850 "It cannot be doubted that the voluptuous treatment of his subjects, in very many instances, recommended them more powerfully than their admirable art; while we may fully believe that he himself, thinking and meaning no evil, was not aware of the manner in which his works were regarded by grosser minds".Six months after William's death, Betsy Etty married chemist Stephen Binnington, a distant relation of the Etty family. She moved into his house in Haymarket, and some time after his death moved to 40 Edwardes Square, where she died in 1888 at the age of 87.
While Etty did have admirers, the patchy quality of his later work meant that he never acquired the circle of imitators and students that could have led to him being seen as the founder of the English realist movement, now considered to have begun in 1848 with the formation of the Pre-Raphaelite Brotherhood. William Holman Hunt and John Everett Millais, two of the three founders of the Pre-Raphaelites, were heavily influenced by Etty's early works but recoiled from his later style. Holman Hunt recollected that "in my youth [Etty] had lost the robustness he once had [...] the paintings of his advanced age cloyed the taste by their sweetness". Millais had consciously modelled his style on Etty, and his works prior to the formation of the Pre-Raphaelites are very similar in composition, but after 1848 the only similarity in style is the use of colour. As Pre-Raphaelitism waned Millais's style became more varied, and some of his later work such as The Knight Errant owes a strong debt to Etty's influence.

Question: In what year did Betsy Etty die?
Answer: 1888
During his life Etty had acquired followers such as Irish painters William Mulready and Daniel Maclise, but both rejected Etty's preoccupation with nudes. Mulready painted nudes but became best known for domestic genre paintings, while Maclise chose to specialise in more traditional history paintings and exhibited only one nude work in his career. One of the few painters who consciously attempted to continue Etty's style after his death was William Edward Frost, who had been an acquaintance of Etty's since 1825. In the early 1830s Frost painted on commission for Thomas Potts (whose 1833 commission of Etty to paint his daughter Elizabeth's portrait had been Etty's first significant portrait commission), and later was commissioned on Etty's recommendation to paint a portrait of Etty's cousin Thomas Bodley. Frost successfully imitated Etty throughout his career, to the extent that his figure studies and Etty's are often misattributed to each other. Although Frost eventually became a Royal Academician in 1870, by this time Etty's style of painting had badly fallen out of fashion.Victorian painting had gone through radical changes, and by the 1870s the realism of Etty and the Pre-Raphaelites had given way to the ideas of the Aesthetic Movement, abandoning the traditions of storytelling and moralising in favour of painting works designed for aesthetic appeal rather than for their narrative or subject. Although the aesthetic movement ultimately led to a brief revival of history painting, these works were in a very different style to Etty's. The new generation of history painters such as Edward Burne-Jones, Lawrence Alma-Tadema and Frederic Leighton sought to depict passivity, rather than the dynamism seen in previous works depicting the classical world. By the end of the 19th century, the value of all of Etty's works had fallen below their original prices. As the 20th century began, the increasingly influential Modernist movement, which came to dominate British art in the 20th century, drew its inspiration from Paul Cézanne and had little regard for 19th-century British painting.

Question: What is the name of the man who's style the person who was commissioned by Thomas Potts in 1830 tried to continue?
Answer: Etty
During his life Etty had acquired followers such as Irish painters William Mulready and Daniel Maclise, but both rejected Etty's preoccupation with nudes. Mulready painted nudes but became best known for domestic genre paintings, while Maclise chose to specialise in more traditional history paintings and exhibited only one nude work in his career. One of the few painters who consciously attempted to continue Etty's style after his death was William Edward Frost, who had been an acquaintance of Etty's since 1825. In the early 1830s Frost painted on commission for Thomas Potts (whose 1833 commission of Etty to paint his daughter Elizabeth's portrait had been Etty's first significant portrait commission), and later was commissioned on Etty's recommendation to paint a portrait of Etty's cousin Thomas Bodley. Frost successfully imitated Etty throughout his career, to the extent that his figure studies and Etty's are often misattributed to each other. Although Frost eventually became a Royal Academician in 1870, by this time Etty's style of painting had badly fallen out of fashion.Victorian painting had gone through radical changes, and by the 1870s the realism of Etty and the Pre-Raphaelites had given way to the ideas of the Aesthetic Movement, abandoning the traditions of storytelling and moralising in favour of painting works designed for aesthetic appeal rather than for their narrative or subject. Although the aesthetic movement ultimately led to a brief revival of history painting, these works were in a very different style to Etty's. The new generation of history painters such as Edward Burne-Jones, Lawrence Alma-Tadema and Frederic Leighton sought to depict passivity, rather than the dynamism seen in previous works depicting the classical world. By the end of the 19th century, the value of all of Etty's works had fallen below their original prices. As the 20th century began, the increasingly influential Modernist movement, which came to dominate British art in the 20th century, drew its inspiration from Paul Cézanne and had little regard for 19th-century British painting.

Question: What is the name of the artist who's work dropped in value at the end of the 19th century?
Answer: Etty
During his life Etty had acquired followers such as Irish painters William Mulready and Daniel Maclise, but both rejected Etty's preoccupation with nudes. Mulready painted nudes but became best known for domestic genre paintings, while Maclise chose to specialise in more traditional history paintings and exhibited only one nude work in his career. One of the few painters who consciously attempted to continue Etty's style after his death was William Edward Frost, who had been an acquaintance of Etty's since 1825. In the early 1830s Frost painted on commission for Thomas Potts (whose 1833 commission of Etty to paint his daughter Elizabeth's portrait had been Etty's first significant portrait commission), and later was commissioned on Etty's recommendation to paint a portrait of Etty's cousin Thomas Bodley. Frost successfully imitated Etty throughout his career, to the extent that his figure studies and Etty's are often misattributed to each other. Although Frost eventually became a Royal Academician in 1870, by this time Etty's style of painting had badly fallen out of fashion.Victorian painting had gone through radical changes, and by the 1870s the realism of Etty and the Pre-Raphaelites had given way to the ideas of the Aesthetic Movement, abandoning the traditions of storytelling and moralising in favour of painting works designed for aesthetic appeal rather than for their narrative or subject. Although the aesthetic movement ultimately led to a brief revival of history painting, these works were in a very different style to Etty's. The new generation of history painters such as Edward Burne-Jones, Lawrence Alma-Tadema and Frederic Leighton sought to depict passivity, rather than the dynamism seen in previous works depicting the classical world. By the end of the 19th century, the value of all of Etty's works had fallen below their original prices. As the 20th century began, the increasingly influential Modernist movement, which came to dominate British art in the 20th century, drew its inspiration from Paul Cézanne and had little regard for 19th-century British painting.

Question: What is the name of the movement that began after the century where Etty's paintings dropped in value?
Answer: Modernist
During his life Etty had acquired followers such as Irish painters William Mulready and Daniel Maclise, but both rejected Etty's preoccupation with nudes. Mulready painted nudes but became best known for domestic genre paintings, while Maclise chose to specialise in more traditional history paintings and exhibited only one nude work in his career. One of the few painters who consciously attempted to continue Etty's style after his death was William Edward Frost, who had been an acquaintance of Etty's since 1825. In the early 1830s Frost painted on commission for Thomas Potts (whose 1833 commission of Etty to paint his daughter Elizabeth's portrait had been Etty's first significant portrait commission), and later was commissioned on Etty's recommendation to paint a portrait of Etty's cousin Thomas Bodley. Frost successfully imitated Etty throughout his career, to the extent that his figure studies and Etty's are often misattributed to each other. Although Frost eventually became a Royal Academician in 1870, by this time Etty's style of painting had badly fallen out of fashion.Victorian painting had gone through radical changes, and by the 1870s the realism of Etty and the Pre-Raphaelites had given way to the ideas of the Aesthetic Movement, abandoning the traditions of storytelling and moralising in favour of painting works designed for aesthetic appeal rather than for their narrative or subject. Although the aesthetic movement ultimately led to a brief revival of history painting, these works were in a very different style to Etty's. The new generation of history painters such as Edward Burne-Jones, Lawrence Alma-Tadema and Frederic Leighton sought to depict passivity, rather than the dynamism seen in previous works depicting the classical world. By the end of the 19th century, the value of all of Etty's works had fallen below their original prices. As the 20th century began, the increasingly influential Modernist movement, which came to dominate British art in the 20th century, drew its inspiration from Paul Cézanne and had little regard for 19th-century British painting.

Question: What is the first name of the person whose figure studies and Etty's are often misattributed to each other?
Answer: William
Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."

Question: What type of TV show is Kaufman's first?
Answer: sitcom
Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."

Question: Who does the struggling performer play in Taxi?
Answer: Latka Gravas
Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."

Question: What's the last name of the person Kaufman initially tricks with his new character?
Answer: Shapiro
Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."

Question: What's the full name of the loud-mouthed lounge singer's true identity?
Answer: Andy Kaufman
Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."

Question: What character gets the struggling performer noticed?
Answer: foreign man
Andy Kaufman is a struggling performer whose act fails in nightclubs because, while the audience wants comedy, he sings children's songs and refuses to tell conventional jokes. As the audience begins to believe that Kaufman may have no real talent, his previously timid "foreign man" character puts on a rhinestone jacket and does a dead-on Elvis impersonation. The audience bursts into applause, realizing Kaufman had tricked them.
He catches the eye of talent agent George Shapiro, who signs Kaufman as a client and immediately lands him a network TV series, Taxi, much to Kaufman's dismay, since he dislikes sitcoms. Because of the money, visibility, and a promise that he can do his own television special, Kaufman accepts the role, turning his foreign man into a mechanic named Latka Gravas. Secretly he hates doing the show and expresses a desire to quit.
Invited to catch a different act at a nightclub, Shapiro witnesses a performance by a rude, loud-mouthed lounge singer, Tony Clifton, whom Kaufman wants to guest-star on Taxi. Clifton's bad attitude is matched by his horrible appearance and demeanor. But backstage, when he meets Shapiro in person, Clifton takes off his sunglasses and reveals that he is actually Kaufman. Clifton is a "villain character" created by Kaufman and his creative partner, Bob Zmuda. Once again, the gag is on the audience.
Kaufman's profile increases with appearances on Saturday Night Live, but he has problems with his newfound fame. When performing live, audiences dislike his strange anti-humor and demand that he perform as Latka. At one show, he deliberately antagonizes attendees by reading The Great Gatsby aloud from start to finish. Kaufman shows up on the Taxi set as Clifton and proceeds to cause chaos until he is removed from the studio lot. He relates to Shapiro that he never knows exactly how to entertain an audience "short of faking my own death or setting the theater on fire."

Question: Who helped the comedian create the loud-mouthed lounge singer?
Answer: Bob Zmuda