nc33/multispan_quoref huggingface dataset:
The year is 1990. Space travel is well-established since humans first landed on the Moon twenty years earlier. At the International Institute of Space Technology, communications expert and astronaut Laura James monitors strange signals being received from outer space. Laura's superior, Dr. Farraday, translates the signal and discovers that it is from an alien race, who are sending an ambassador to Earth. Soon after, however, Laura receives a video log showing that the aliens' starship has crash-landed on Mars.
The Institute launches a rescue mission aboard the spaceship Oceano, which includes Laura and astronauts Anders Brockman and Paul Grant. Oceano travels through a sunburst, suffering some damage, before completing the journey to Mars and locating the downed alien craft. Anders and Paul investigate and discover a single dead alien aboard. Faraday deduces that the surviving crew may have been rescued, so an observation satellite will be needed to locate the alien rescue ship. Laura's fiancé Allan and fellow astronaut Tony volunteer. They travel on the spaceship Meteor to Phobos, one of the two moons of Mars, where they launch the observation satellite. Tony finds an alien spaceship on Phobos. He and Allan are able to enter, finding an unconscious but still-living female alien. As their rescue ship holds only two, one of them must stay behind, so they toss a coin and Tony stays.
Allan and the female alien arrive on Oceano, joining Laura, Paul and Anders. The alien regains consciousness and smiles at the three men, but not Laura. The alien refuses to eat all food offered and will not let Anders take a blood sample. That night, as Paul is guarding the alien, she attacks and kills him, draining his blood after first hypnotizing him. The surviving astronauts decide to keep her alive by feeding her blood from the ship's plasma supply. When this supply runs out, she kills Anders and feeds on him, leaving Laura and Allan the only humans aboard.

Question: What are the first names of the people that have a coin toss?
Answer: Tony, Allan
The year is 1990. Space travel is well-established since humans first landed on the Moon twenty years earlier. At the International Institute of Space Technology, communications expert and astronaut Laura James monitors strange signals being received from outer space. Laura's superior, Dr. Farraday, translates the signal and discovers that it is from an alien race, who are sending an ambassador to Earth. Soon after, however, Laura receives a video log showing that the aliens' starship has crash-landed on Mars.
The Institute launches a rescue mission aboard the spaceship Oceano, which includes Laura and astronauts Anders Brockman and Paul Grant. Oceano travels through a sunburst, suffering some damage, before completing the journey to Mars and locating the downed alien craft. Anders and Paul investigate and discover a single dead alien aboard. Faraday deduces that the surviving crew may have been rescued, so an observation satellite will be needed to locate the alien rescue ship. Laura's fiancé Allan and fellow astronaut Tony volunteer. They travel on the spaceship Meteor to Phobos, one of the two moons of Mars, where they launch the observation satellite. Tony finds an alien spaceship on Phobos. He and Allan are able to enter, finding an unconscious but still-living female alien. As their rescue ship holds only two, one of them must stay behind, so they toss a coin and Tony stays.
Allan and the female alien arrive on Oceano, joining Laura, Paul and Anders. The alien regains consciousness and smiles at the three men, but not Laura. The alien refuses to eat all food offered and will not let Anders take a blood sample. That night, as Paul is guarding the alien, she attacks and kills him, draining his blood after first hypnotizing him. The surviving astronauts decide to keep her alive by feeding her blood from the ship's plasma supply. When this supply runs out, she kills Anders and feeds on him, leaving Laura and Allan the only humans aboard.

Question: What are the first names of the people that the alien smiles at?
Answer: Anders, Paul, Allan
The year is 1990. Space travel is well-established since humans first landed on the Moon twenty years earlier. At the International Institute of Space Technology, communications expert and astronaut Laura James monitors strange signals being received from outer space. Laura's superior, Dr. Farraday, translates the signal and discovers that it is from an alien race, who are sending an ambassador to Earth. Soon after, however, Laura receives a video log showing that the aliens' starship has crash-landed on Mars.
The Institute launches a rescue mission aboard the spaceship Oceano, which includes Laura and astronauts Anders Brockman and Paul Grant. Oceano travels through a sunburst, suffering some damage, before completing the journey to Mars and locating the downed alien craft. Anders and Paul investigate and discover a single dead alien aboard. Faraday deduces that the surviving crew may have been rescued, so an observation satellite will be needed to locate the alien rescue ship. Laura's fiancé Allan and fellow astronaut Tony volunteer. They travel on the spaceship Meteor to Phobos, one of the two moons of Mars, where they launch the observation satellite. Tony finds an alien spaceship on Phobos. He and Allan are able to enter, finding an unconscious but still-living female alien. As their rescue ship holds only two, one of them must stay behind, so they toss a coin and Tony stays.
Allan and the female alien arrive on Oceano, joining Laura, Paul and Anders. The alien regains consciousness and smiles at the three men, but not Laura. The alien refuses to eat all food offered and will not let Anders take a blood sample. That night, as Paul is guarding the alien, she attacks and kills him, draining his blood after first hypnotizing him. The surviving astronauts decide to keep her alive by feeding her blood from the ship's plasma supply. When this supply runs out, she kills Anders and feeds on him, leaving Laura and Allan the only humans aboard.

Question: What is the first name of the person that is hypnotized?
Answer: Paul
The year is 1990. Space travel is well-established since humans first landed on the Moon twenty years earlier. At the International Institute of Space Technology, communications expert and astronaut Laura James monitors strange signals being received from outer space. Laura's superior, Dr. Farraday, translates the signal and discovers that it is from an alien race, who are sending an ambassador to Earth. Soon after, however, Laura receives a video log showing that the aliens' starship has crash-landed on Mars.
The Institute launches a rescue mission aboard the spaceship Oceano, which includes Laura and astronauts Anders Brockman and Paul Grant. Oceano travels through a sunburst, suffering some damage, before completing the journey to Mars and locating the downed alien craft. Anders and Paul investigate and discover a single dead alien aboard. Faraday deduces that the surviving crew may have been rescued, so an observation satellite will be needed to locate the alien rescue ship. Laura's fiancé Allan and fellow astronaut Tony volunteer. They travel on the spaceship Meteor to Phobos, one of the two moons of Mars, where they launch the observation satellite. Tony finds an alien spaceship on Phobos. He and Allan are able to enter, finding an unconscious but still-living female alien. As their rescue ship holds only two, one of them must stay behind, so they toss a coin and Tony stays.
Allan and the female alien arrive on Oceano, joining Laura, Paul and Anders. The alien regains consciousness and smiles at the three men, but not Laura. The alien refuses to eat all food offered and will not let Anders take a blood sample. That night, as Paul is guarding the alien, she attacks and kills him, draining his blood after first hypnotizing him. The surviving astronauts decide to keep her alive by feeding her blood from the ship's plasma supply. When this supply runs out, she kills Anders and feeds on him, leaving Laura and Allan the only humans aboard.

Question: What is the first name of the person whose blood is drained?
Answer: Paul
The year is 1990. Space travel is well-established since humans first landed on the Moon twenty years earlier. At the International Institute of Space Technology, communications expert and astronaut Laura James monitors strange signals being received from outer space. Laura's superior, Dr. Farraday, translates the signal and discovers that it is from an alien race, who are sending an ambassador to Earth. Soon after, however, Laura receives a video log showing that the aliens' starship has crash-landed on Mars.
The Institute launches a rescue mission aboard the spaceship Oceano, which includes Laura and astronauts Anders Brockman and Paul Grant. Oceano travels through a sunburst, suffering some damage, before completing the journey to Mars and locating the downed alien craft. Anders and Paul investigate and discover a single dead alien aboard. Faraday deduces that the surviving crew may have been rescued, so an observation satellite will be needed to locate the alien rescue ship. Laura's fiancé Allan and fellow astronaut Tony volunteer. They travel on the spaceship Meteor to Phobos, one of the two moons of Mars, where they launch the observation satellite. Tony finds an alien spaceship on Phobos. He and Allan are able to enter, finding an unconscious but still-living female alien. As their rescue ship holds only two, one of them must stay behind, so they toss a coin and Tony stays.
Allan and the female alien arrive on Oceano, joining Laura, Paul and Anders. The alien regains consciousness and smiles at the three men, but not Laura. The alien refuses to eat all food offered and will not let Anders take a blood sample. That night, as Paul is guarding the alien, she attacks and kills him, draining his blood after first hypnotizing him. The surviving astronauts decide to keep her alive by feeding her blood from the ship's plasma supply. When this supply runs out, she kills Anders and feeds on him, leaving Laura and Allan the only humans aboard.

Question: Who feeds on Anders?
Answer: the female alien
Muna Farah is a divorced Palestinian Christian mother raising her teenage son Fadi. She works for a bank in Ramallah, part of the West Bank, Palestinian territories. Each day after work, Muna picks up Fadi from school and crosses through an Israeli checkpoint in order to get to their home in Bethlehem. She lives with her aging mother and has occasional visits from her brother Samer. One day after arriving home, Muna discovers that she has been awarded an American green card through the lottery. Although she initially considered declining the offer, Muna reconsiders after she and Fadi are harassed at the checkpoint by Israeli soldiers.
They arrive in the United States shortly after the 2003 invasion of Iraq to stay with her sister's family in Illinois. After a difficult time with customs, Muna is reunited with her sister, Raghda Halaby, physician brother-in-law Nabeel and their three children Salma, Rana, and Lamis. Later, however, Muna discovers that a box of cookies was confiscated during the customs search and is horrified: the box contained all of her life savings. Muna thus searches for work, but is disappointed to discover that her multiple degrees and work experience do not guarantee the kind of employment she is seeking. She finally takes a job at White Castle. Too ashamed to tell her family the truth, she pretends to have been hired by the bank next door to White Castle. She maintains the facade through the help of an employee of the bank next door to White Castle and her blue-haired high school drop-out co-worker, Matt.

Question: What is the full name of the person who stayed with her sister's family in America?
Answer: Muna Farah
Muna Farah is a divorced Palestinian Christian mother raising her teenage son Fadi. She works for a bank in Ramallah, part of the West Bank, Palestinian territories. Each day after work, Muna picks up Fadi from school and crosses through an Israeli checkpoint in order to get to their home in Bethlehem. She lives with her aging mother and has occasional visits from her brother Samer. One day after arriving home, Muna discovers that she has been awarded an American green card through the lottery. Although she initially considered declining the offer, Muna reconsiders after she and Fadi are harassed at the checkpoint by Israeli soldiers.
They arrive in the United States shortly after the 2003 invasion of Iraq to stay with her sister's family in Illinois. After a difficult time with customs, Muna is reunited with her sister, Raghda Halaby, physician brother-in-law Nabeel and their three children Salma, Rana, and Lamis. Later, however, Muna discovers that a box of cookies was confiscated during the customs search and is horrified: the box contained all of her life savings. Muna thus searches for work, but is disappointed to discover that her multiple degrees and work experience do not guarantee the kind of employment she is seeking. She finally takes a job at White Castle. Too ashamed to tell her family the truth, she pretends to have been hired by the bank next door to White Castle. She maintains the facade through the help of an employee of the bank next door to White Castle and her blue-haired high school drop-out co-worker, Matt.

Question: What is the first name of the person who pretends to work at a bank?
Answer: Muna
Muna Farah is a divorced Palestinian Christian mother raising her teenage son Fadi. She works for a bank in Ramallah, part of the West Bank, Palestinian territories. Each day after work, Muna picks up Fadi from school and crosses through an Israeli checkpoint in order to get to their home in Bethlehem. She lives with her aging mother and has occasional visits from her brother Samer. One day after arriving home, Muna discovers that she has been awarded an American green card through the lottery. Although she initially considered declining the offer, Muna reconsiders after she and Fadi are harassed at the checkpoint by Israeli soldiers.
They arrive in the United States shortly after the 2003 invasion of Iraq to stay with her sister's family in Illinois. After a difficult time with customs, Muna is reunited with her sister, Raghda Halaby, physician brother-in-law Nabeel and their three children Salma, Rana, and Lamis. Later, however, Muna discovers that a box of cookies was confiscated during the customs search and is horrified: the box contained all of her life savings. Muna thus searches for work, but is disappointed to discover that her multiple degrees and work experience do not guarantee the kind of employment she is seeking. She finally takes a job at White Castle. Too ashamed to tell her family the truth, she pretends to have been hired by the bank next door to White Castle. She maintains the facade through the help of an employee of the bank next door to White Castle and her blue-haired high school drop-out co-worker, Matt.

Question: What is the name of the husband of the Palestinian Christian woman's sister?
Answer: Nabeel
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the first name of the person who intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous?
Answer: George
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the first name of the person who received many offers to buy the painting?
Answer: George
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the first name of the person who painted a second version of Hope with an assistant?
Answer: George
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the first name of the person who sold the original and donated the copy to the South Kensington Museum?
Answer: George
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the first name of the person who painted at least two further versions of Hope for private sale?
Answer: George
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the full name of person who intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous?
Answer: George Frederic Watts
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: What is the last name of the person who painted at least two further versions for private sale?
Answer: Watts
Hope is a Symbolist oil painting by the English painter George Frederic Watts, who completed the first two versions in 1886. Radically different from previous treatments of the subject, it shows a lone blindfolded female figure sitting on a globe, playing a lyre that has only a single string remaining. The background is almost blank, its only visible feature a single star. Watts intentionally used symbolism not traditionally associated with hope to make the painting's meaning ambiguous. While his use of colour in Hope was greatly admired, at the time of its exhibition many critics disliked the painting. Hope proved popular with the Aesthetic Movement, who considered beauty the primary purpose of art and were unconcerned by the ambiguity of its message. Reproductions in platinotype, and later cheap carbon prints, soon began to be sold.
Although Watts received many offers to buy the painting, he had agreed to donate his most important works to the nation and felt it would be inappropriate not to include Hope. Consequently, later in 1886 Watts and his assistant Cecil Schott painted a second version. On its completion Watts sold the original and donated the copy to the South Kensington Museum (now the Victoria and Albert Museum); thus, this second version is better known than the original. He painted at least two further versions for private sale.
As cheap reproductions of Hope, and from 1908 high-quality prints, began to circulate in large quantities, it became a widely popular image. President Theodore Roosevelt displayed a copy at his Sagamore Hill home in New York; reproductions circulated worldwide; and a 1922 film depicted Watts's creation of the painting and an imagined story behind it. By this time Hope was coming to seem outdated and sentimental, and Watts was rapidly falling out of fashion. In 1938 the Tate Gallery ceased to keep their collection of Watts's works on permanent display.
Despite the decline in Watts's popularity, Hope remained influential. Martin Luther King Jr. based a 1959 sermon, now known as Shattered Dreams, on the theme of the painting, as did Jeremiah Wright in Chicago in 1990. Among the congregation for the latter was the young Barack Obama, who was deeply moved. Obama took "The Audacity of Hope" as the theme of his 2004 Democratic National Convention keynote address, and as the title of his 2006 book; he based his successful 2008 presidential campaign around the theme of "Hope".

Question: Among whose congregation was the young Barack Obama?
Answer: Jeremiah Wright
Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless.
In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that Hope was completed relatively quickly. He left no notes regarding his creation of the work, but his close friend Emilie Barrington noted that "a beautiful friend of mine", almost certainly Dorothy Dene, modelled for Hope in 1885. (Dorothy Dene, née Ada Alice Pullen, was better known as a model for Frederic Leighton but is known to have also modelled for Watts in this period. Although the facial features of Hope are obscured in Watts's painting, her distinctive jawline and hair are both recognisable.) By the end of 1885 Watts had settled on the design of the painting.

Question: What is the name of the person that depicted Hope for St Margaret's Church
Answer: Edward Burne-Jones
Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless.
In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that Hope was completed relatively quickly. He left no notes regarding his creation of the work, but his close friend Emilie Barrington noted that "a beautiful friend of mine", almost certainly Dorothy Dene, modelled for Hope in 1885. (Dorothy Dene, née Ada Alice Pullen, was better known as a model for Frederic Leighton but is known to have also modelled for Watts in this period. Although the facial features of Hope are obscured in Watts's painting, her distinctive jawline and hair are both recognisable.) By the end of 1885 Watts had settled on the design of the painting.

Question: What is the name of the person that used Dorothy Dene in 1885 as a model?
Answer: Watts
Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless.
In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that Hope was completed relatively quickly. He left no notes regarding his creation of the work, but his close friend Emilie Barrington noted that "a beautiful friend of mine", almost certainly Dorothy Dene, modelled for Hope in 1885. (Dorothy Dene, née Ada Alice Pullen, was better known as a model for Frederic Leighton but is known to have also modelled for Watts in this period. Although the facial features of Hope are obscured in Watts's painting, her distinctive jawline and hair are both recognisable.) By the end of 1885 Watts had settled on the design of the painting.

Question: What is the full name of the person Frederic Leighton used as a model?
Answer: Dorothy Dene
Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless.
In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that Hope was completed relatively quickly. He left no notes regarding his creation of the work, but his close friend Emilie Barrington noted that "a beautiful friend of mine", almost certainly Dorothy Dene, modelled for Hope in 1885. (Dorothy Dene, née Ada Alice Pullen, was better known as a model for Frederic Leighton but is known to have also modelled for Watts in this period. Although the facial features of Hope are obscured in Watts's painting, her distinctive jawline and hair are both recognisable.) By the end of 1885 Watts had settled on the design of the painting.

Question: What is the name of the person that completed Hope relatively quickly?
Answer: Watts