nc33/multispan_quoref huggingface dataset:
After listening to a morning conversation between Sophie and Simon, Sophie is buying a couch from Alex for her own apartment in working class Echo Park in Central Las Angeles.  Black musician Alex is returning to England after failing to break into films.  Alex invites Sophie to join him, Mateo and his boy, Elias to play soccer in the park.  After Sophie and Alex end up having sex and become friends.
Alex plays the role as rebound guy and Sophie admits she is still in love with her lifetime boyfriend but feels trapped.  Sophie's rich Mom finds her and tells her to go back to Simon because she never dreamed of having Black grandchildren.  Controlling rich Simon keeps telling Sophie to get over this "whatever vacation" and come back to him.
Alex's house sale falls through and Sophie agrees to buy it.  Alex has fallen for Sophie but she does not ask him to stay.  In fact she tells him she is returning to Simon.  His friend Mateo also agrees to reconcile with his wife Martha.  Alex cannot understand why couples reconcile into failed relationships.  Sophie and Simon have a great fun day at a fair but at day's end Sophie knows she does not love him and the relationship really is over.
Alex completes packing to move and drives off to the airport.  He leaves her favorite album in the empty house.  Sophie attends Elias' art show from the photographs he made with the camera she purchased him.  Alex keeps driving to the airport but will he turn around?  He does not.

Question: Who is the black musician the rebound guy for?
Answer: Sophie
After listening to a morning conversation between Sophie and Simon, Sophie is buying a couch from Alex for her own apartment in working class Echo Park in Central Las Angeles.  Black musician Alex is returning to England after failing to break into films.  Alex invites Sophie to join him, Mateo and his boy, Elias to play soccer in the park.  After Sophie and Alex end up having sex and become friends.
Alex plays the role as rebound guy and Sophie admits she is still in love with her lifetime boyfriend but feels trapped.  Sophie's rich Mom finds her and tells her to go back to Simon because she never dreamed of having Black grandchildren.  Controlling rich Simon keeps telling Sophie to get over this "whatever vacation" and come back to him.
Alex's house sale falls through and Sophie agrees to buy it.  Alex has fallen for Sophie but she does not ask him to stay.  In fact she tells him she is returning to Simon.  His friend Mateo also agrees to reconcile with his wife Martha.  Alex cannot understand why couples reconcile into failed relationships.  Sophie and Simon have a great fun day at a fair but at day's end Sophie knows she does not love him and the relationship really is over.
Alex completes packing to move and drives off to the airport.  He leaves her favorite album in the empty house.  Sophie attends Elias' art show from the photographs he made with the camera she purchased him.  Alex keeps driving to the airport but will he turn around?  He does not.

Question: Who is the black musician friend of the man that reconciles with his wife Martha?
Answer: Alex
Hilda Rix Nicholas (née Rix, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Hilda Rix was born in the Victorian city of Ballarat. Her father was an education administrator and poet, her mother was a musician and artist. She studied under a leading member of the Heidelberg School, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, Hilda Rix, her only sibling Elsie and her mother travelled to Europe where she undertook further study in London and then in Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen.
After travelling to Tangiers in 1912, Rix held several successful exhibitions of her work, with one drawing, Grande marche, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon first in 1911 and again in 1913. The family evacuated from France to England after the outbreak of World War I. A period of personal tragedy followed, as Rix's sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson Nicholas, only to be widowed the next month when he was killed on the Western Front.
Returning to Australia in 1918, Rix Nicholas once more took up professional painting, and held an exhibition of over a hundred works at Melbourne's Guild Hall. Many sold, including In Picardy, purchased by the National Gallery of Victoria. Following a period painting in rural locations in the early 1920s, Rix Nicholas returned to Europe. A 1925 exhibition in Paris led to the sale of her work In Australia to the Musée du Luxembourg, followed by an extensive tour of her paintings around regional British art galleries. There followed representation in other exhibitions, including at the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Arts, both in London. Following the inclusion of several works in the 1926 Société Nationale des Beaux-Arts Spring exhibition in Paris she was made an Associate of that organisation.

Question: Who was killed on the Western Front?
Answer: George Matson Nicholas
Hilda Rix Nicholas (née Rix, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Hilda Rix was born in the Victorian city of Ballarat. Her father was an education administrator and poet, her mother was a musician and artist. She studied under a leading member of the Heidelberg School, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, Hilda Rix, her only sibling Elsie and her mother travelled to Europe where she undertook further study in London and then in Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen.
After travelling to Tangiers in 1912, Rix held several successful exhibitions of her work, with one drawing, Grande marche, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon first in 1911 and again in 1913. The family evacuated from France to England after the outbreak of World War I. A period of personal tragedy followed, as Rix's sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson Nicholas, only to be widowed the next month when he was killed on the Western Front.
Returning to Australia in 1918, Rix Nicholas once more took up professional painting, and held an exhibition of over a hundred works at Melbourne's Guild Hall. Many sold, including In Picardy, purchased by the National Gallery of Victoria. Following a period painting in rural locations in the early 1920s, Rix Nicholas returned to Europe. A 1925 exhibition in Paris led to the sale of her work In Australia to the Musée du Luxembourg, followed by an extensive tour of her paintings around regional British art galleries. There followed representation in other exhibitions, including at the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Arts, both in London. Following the inclusion of several works in the 1926 Société Nationale des Beaux-Arts Spring exhibition in Paris she was made an Associate of that organisation.

Question: What is the full name of the person who studied at the National Gallery of Victoria Art School?
Answer: Hilda Rix Nicholas
Hilda Rix Nicholas (née Rix, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Hilda Rix was born in the Victorian city of Ballarat. Her father was an education administrator and poet, her mother was a musician and artist. She studied under a leading member of the Heidelberg School, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, Hilda Rix, her only sibling Elsie and her mother travelled to Europe where she undertook further study in London and then in Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen.
After travelling to Tangiers in 1912, Rix held several successful exhibitions of her work, with one drawing, Grande marche, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon first in 1911 and again in 1913. The family evacuated from France to England after the outbreak of World War I. A period of personal tragedy followed, as Rix's sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson Nicholas, only to be widowed the next month when he was killed on the Western Front.
Returning to Australia in 1918, Rix Nicholas once more took up professional painting, and held an exhibition of over a hundred works at Melbourne's Guild Hall. Many sold, including In Picardy, purchased by the National Gallery of Victoria. Following a period painting in rural locations in the early 1920s, Rix Nicholas returned to Europe. A 1925 exhibition in Paris led to the sale of her work In Australia to the Musée du Luxembourg, followed by an extensive tour of her paintings around regional British art galleries. There followed representation in other exhibitions, including at the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Arts, both in London. Following the inclusion of several works in the 1926 Société Nationale des Beaux-Arts Spring exhibition in Paris she was made an Associate of that organisation.

Question: What is the full name of the person whose teachers included John Hassall?
Answer: Hilda Rix Nicholas
The retreat to London marked the beginning of a tragic period. Rix's mother Elizabeth had been unwell, and deteriorated during the crossing from France to England. Elizabeth was transferred to hospital when they landed; though she partially recovered and was moved to a nursing home, at that same time her other daughter, Elsie, fell ill.Rix shuttled back and forth between her two ailing family members until, on 2 September 1914, Elsie died. For three months Rix withheld the news from her mother, fearing it would harm her already fragile condition. Elizabeth survived the news, but as the war continued, Rix's artistic output dwindled almost to nothing. Then in March 1916, Elizabeth died. Rix was just over thirty years old, and all her immediate relatives were now dead. Recalling the experience, she later wrote: "I could scarcely put one foot in front of the other and walked like an old thing".Further misfortune lay in store. In France, an Australian officer, Captain George Matson Nicholas, was posted to  Étaples. There he heard about the Australian woman artist who had had to leave her paintings behind when she and her family left abruptly for England. Nicholas sought out the works and admired them, and decided to contact the artist when next he was on leave. He met Rix in September 1916, and they were married on 7 October at St Saviour's, Warwick Avenue in London. After three days together, he returned to duty; she was widowed five weeks later on 14 November, when he was shot and killed during battle at Flers, on the Western Front. Initially writing in her diary that she had lost the will to live, Rix Nicholas's grief eventually found its expression in three paintings, titled And Those Who Would Have Been Their Sons, They Gave Their Immortality (a phrase from a poem by Rupert Brooke), Desolation and Pro Humanitate. The second of these paintings (which was destroyed in 1930), portrayed a gaunt and tearful woman shrouded in a black cloak, crouched staring at the viewer amidst a battlescarred landscape, featureless but for the crosses on distant graves. The National Gallery of Australia holds a charcoal drawing made as a study for the work. The first was "a portrait of a woman cradling a ghostly child", while the third represented the tragedy of her short marriage to Nicholas. In visualising the ruin of war, her works were more personal than those of other artists of the last years of World War I, such as Paul Nash and Eric Kennington, and her representation of widowhood was both unusual for its time, and confronting for the viewer.

Question: What is the name of the painting that portrayed a gaunt and tearful woman shrouded in a black cloak?
Answer: They Gave Their Immortality
The retreat to London marked the beginning of a tragic period. Rix's mother Elizabeth had been unwell, and deteriorated during the crossing from France to England. Elizabeth was transferred to hospital when they landed; though she partially recovered and was moved to a nursing home, at that same time her other daughter, Elsie, fell ill.Rix shuttled back and forth between her two ailing family members until, on 2 September 1914, Elsie died. For three months Rix withheld the news from her mother, fearing it would harm her already fragile condition. Elizabeth survived the news, but as the war continued, Rix's artistic output dwindled almost to nothing. Then in March 1916, Elizabeth died. Rix was just over thirty years old, and all her immediate relatives were now dead. Recalling the experience, she later wrote: "I could scarcely put one foot in front of the other and walked like an old thing".Further misfortune lay in store. In France, an Australian officer, Captain George Matson Nicholas, was posted to  Étaples. There he heard about the Australian woman artist who had had to leave her paintings behind when she and her family left abruptly for England. Nicholas sought out the works and admired them, and decided to contact the artist when next he was on leave. He met Rix in September 1916, and they were married on 7 October at St Saviour's, Warwick Avenue in London. After three days together, he returned to duty; she was widowed five weeks later on 14 November, when he was shot and killed during battle at Flers, on the Western Front. Initially writing in her diary that she had lost the will to live, Rix Nicholas's grief eventually found its expression in three paintings, titled And Those Who Would Have Been Their Sons, They Gave Their Immortality (a phrase from a poem by Rupert Brooke), Desolation and Pro Humanitate. The second of these paintings (which was destroyed in 1930), portrayed a gaunt and tearful woman shrouded in a black cloak, crouched staring at the viewer amidst a battlescarred landscape, featureless but for the crosses on distant graves. The National Gallery of Australia holds a charcoal drawing made as a study for the work. The first was "a portrait of a woman cradling a ghostly child", while the third represented the tragedy of her short marriage to Nicholas. In visualising the ruin of war, her works were more personal than those of other artists of the last years of World War I, such as Paul Nash and Eric Kennington, and her representation of widowhood was both unusual for its time, and confronting for the viewer.

Question: What is the name of the painting made by the artist that represented the tragedy of her short marriage to Nicholas?
Answer: Desolation and Pro Humanitate
The retreat to London marked the beginning of a tragic period. Rix's mother Elizabeth had been unwell, and deteriorated during the crossing from France to England. Elizabeth was transferred to hospital when they landed; though she partially recovered and was moved to a nursing home, at that same time her other daughter, Elsie, fell ill.Rix shuttled back and forth between her two ailing family members until, on 2 September 1914, Elsie died. For three months Rix withheld the news from her mother, fearing it would harm her already fragile condition. Elizabeth survived the news, but as the war continued, Rix's artistic output dwindled almost to nothing. Then in March 1916, Elizabeth died. Rix was just over thirty years old, and all her immediate relatives were now dead. Recalling the experience, she later wrote: "I could scarcely put one foot in front of the other and walked like an old thing".Further misfortune lay in store. In France, an Australian officer, Captain George Matson Nicholas, was posted to  Étaples. There he heard about the Australian woman artist who had had to leave her paintings behind when she and her family left abruptly for England. Nicholas sought out the works and admired them, and decided to contact the artist when next he was on leave. He met Rix in September 1916, and they were married on 7 October at St Saviour's, Warwick Avenue in London. After three days together, he returned to duty; she was widowed five weeks later on 14 November, when he was shot and killed during battle at Flers, on the Western Front. Initially writing in her diary that she had lost the will to live, Rix Nicholas's grief eventually found its expression in three paintings, titled And Those Who Would Have Been Their Sons, They Gave Their Immortality (a phrase from a poem by Rupert Brooke), Desolation and Pro Humanitate. The second of these paintings (which was destroyed in 1930), portrayed a gaunt and tearful woman shrouded in a black cloak, crouched staring at the viewer amidst a battlescarred landscape, featureless but for the crosses on distant graves. The National Gallery of Australia holds a charcoal drawing made as a study for the work. The first was "a portrait of a woman cradling a ghostly child", while the third represented the tragedy of her short marriage to Nicholas. In visualising the ruin of war, her works were more personal than those of other artists of the last years of World War I, such as Paul Nash and Eric Kennington, and her representation of widowhood was both unusual for its time, and confronting for the viewer.

Question: What is the name of the painting that was "a portrait of a woman cradling a ghostly child"?
Answer: And Those Who Would Have Been Their Sons
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the first name of the person who intended to exhibit her works in Europe?
Answer: Dorothy
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the first name of the person who voyaged on the Ormonde?
Answer: Dorothy
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the first name of the person who befriended several members of the Olympic team?
Answer: Dorothy
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the first name of the person who painted a portrait of one for an Olympic artists' competition?
Answer: Dorothy
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the full name of the person who was the the only Australian woman to have more than one work in the Musée du Luxembourg's collection?
Answer: Dorothy Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the full name of the woman who was one of only three Australian artists represented in the Musée du Luxembourg at that time?
Answer: Dorothy Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the last name of the woman whose works were on tour to London and British regional galleries because of the expedition?
Answer: Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the full name of the woman who was the first Australian artist to have archived such prominence?
Answer: Dorothy Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What was the last name of the woman whose works were shown in Hull between 1926 and 1928?
Answer: Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the full name of the person who stayed in the early 1920s at Delegate?
Answer: Dorothy Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the last name of the person whose works were intended to be exhibited in Europe?
Answer: Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the last name of the only Australian woman to have more than one work in the collections at Musée du Luxembourg?
Answer: Richmond
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What are the full names of the three Australian artists represented at Musée du Luxembourg?
Answer: Dorothy Richmond, Rupert Bunny, Arthur Streeton
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: Where was the expedition that led to a tour of Richmond's work?
Answer: Georges Petit Galerie
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the first name of the person who had her work exhibited at the Georges Petit Galerie?
Answer: Dorothy
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the first name of the person whose works were shown in Hull, Sunderland, Tyne and Wear?
Answer: Dorothy
In 1924, Rix Nicholas, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe. She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition.Arriving in Paris in June, eventually Rix Nicholas rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led also to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire.The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s. He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time.

Question: What is the last name of the person whose work was exhibited in Bootle, Blackpool, Northampton, Warrington, and Folkestone?
Answer: Richmond