niryuu/sni-each-converted huggingface dataset:
Passage: A flying saucer is seen in the sky above the countryside by various eyewitnesses, including an American woman driving in her car. She crashes after being blinded by the craft's landing lights and deafened by its loud propulsion system. A stranger walks up to the car and sees that she is injured.
The stranger later enters a country inn very near where the sighting and accident took place. He is able to read people's thoughts, and when asked says he has no name. He also asserts that he is responsible for saving the life of Susan North, the car accident victim. She later walks into the inn a little dazed, but with her crash wounds nearly healed. After the mysterious stranger explains that he comes from the planet Venus, a guest at the inn, Arthur Walker, a high-ranking government official (and Susan's fiancé), calls the war ministry. With permission, Dr Meinard examines the stranger from Venus and says that he has no detectable pulse. The area surrounding the inn is quickly cordoned-off by the government.
Journalist Charles Dixon tries to learn more about the man from Venus. Dixon discovers that the stranger is able to speak multiple human languages, and that his people have learned quite a bit about humanity by listening to our radio broadcasts and viewing our television transmissions. He also explains how Venusians use 'magnetic brilliance' for their spaceship propulsion, supplied by the magnetic energy fields of the other planets as they revolve in their various orbits.
Output: What is the full name of the person who gets blinded by landing lights?
Passage: A flying saucer is seen in the sky above the countryside by various eyewitnesses, including an American woman driving in her car. She crashes after being blinded by the craft's landing lights and deafened by its loud propulsion system. A stranger walks up to the car and sees that she is injured.
The stranger later enters a country inn very near where the sighting and accident took place. He is able to read people's thoughts, and when asked says he has no name. He also asserts that he is responsible for saving the life of Susan North, the car accident victim. She later walks into the inn a little dazed, but with her crash wounds nearly healed. After the mysterious stranger explains that he comes from the planet Venus, a guest at the inn, Arthur Walker, a high-ranking government official (and Susan's fiancé), calls the war ministry. With permission, Dr Meinard examines the stranger from Venus and says that he has no detectable pulse. The area surrounding the inn is quickly cordoned-off by the government.
Journalist Charles Dixon tries to learn more about the man from Venus. Dixon discovers that the stranger is able to speak multiple human languages, and that his people have learned quite a bit about humanity by listening to our radio broadcasts and viewing our television transmissions. He also explains how Venusians use 'magnetic brilliance' for their spaceship propulsion, supplied by the magnetic energy fields of the other planets as they revolve in their various orbits.
Output: Who has no detectable pulse?
Passage: A flying saucer is seen in the sky above the countryside by various eyewitnesses, including an American woman driving in her car. She crashes after being blinded by the craft's landing lights and deafened by its loud propulsion system. A stranger walks up to the car and sees that she is injured.
The stranger later enters a country inn very near where the sighting and accident took place. He is able to read people's thoughts, and when asked says he has no name. He also asserts that he is responsible for saving the life of Susan North, the car accident victim. She later walks into the inn a little dazed, but with her crash wounds nearly healed. After the mysterious stranger explains that he comes from the planet Venus, a guest at the inn, Arthur Walker, a high-ranking government official (and Susan's fiancé), calls the war ministry. With permission, Dr Meinard examines the stranger from Venus and says that he has no detectable pulse. The area surrounding the inn is quickly cordoned-off by the government.
Journalist Charles Dixon tries to learn more about the man from Venus. Dixon discovers that the stranger is able to speak multiple human languages, and that his people have learned quite a bit about humanity by listening to our radio broadcasts and viewing our television transmissions. He also explains how Venusians use 'magnetic brilliance' for their spaceship propulsion, supplied by the magnetic energy fields of the other planets as they revolve in their various orbits.
Output: Who learns about humanity by listening to radio broadcasts?
Passage: A flying saucer is seen in the sky above the countryside by various eyewitnesses, including an American woman driving in her car. She crashes after being blinded by the craft's landing lights and deafened by its loud propulsion system. A stranger walks up to the car and sees that she is injured.
The stranger later enters a country inn very near where the sighting and accident took place. He is able to read people's thoughts, and when asked says he has no name. He also asserts that he is responsible for saving the life of Susan North, the car accident victim. She later walks into the inn a little dazed, but with her crash wounds nearly healed. After the mysterious stranger explains that he comes from the planet Venus, a guest at the inn, Arthur Walker, a high-ranking government official (and Susan's fiancé), calls the war ministry. With permission, Dr Meinard examines the stranger from Venus and says that he has no detectable pulse. The area surrounding the inn is quickly cordoned-off by the government.
Journalist Charles Dixon tries to learn more about the man from Venus. Dixon discovers that the stranger is able to speak multiple human languages, and that his people have learned quite a bit about humanity by listening to our radio broadcasts and viewing our television transmissions. He also explains how Venusians use 'magnetic brilliance' for their spaceship propulsion, supplied by the magnetic energy fields of the other planets as they revolve in their various orbits.
Output: Who explains that Venusians use "magnetic brilliance for spaceship propulsion?
Passage: A flying saucer is seen in the sky above the countryside by various eyewitnesses, including an American woman driving in her car. She crashes after being blinded by the craft's landing lights and deafened by its loud propulsion system. A stranger walks up to the car and sees that she is injured.
The stranger later enters a country inn very near where the sighting and accident took place. He is able to read people's thoughts, and when asked says he has no name. He also asserts that he is responsible for saving the life of Susan North, the car accident victim. She later walks into the inn a little dazed, but with her crash wounds nearly healed. After the mysterious stranger explains that he comes from the planet Venus, a guest at the inn, Arthur Walker, a high-ranking government official (and Susan's fiancé), calls the war ministry. With permission, Dr Meinard examines the stranger from Venus and says that he has no detectable pulse. The area surrounding the inn is quickly cordoned-off by the government.
Journalist Charles Dixon tries to learn more about the man from Venus. Dixon discovers that the stranger is able to speak multiple human languages, and that his people have learned quite a bit about humanity by listening to our radio broadcasts and viewing our television transmissions. He also explains how Venusians use 'magnetic brilliance' for their spaceship propulsion, supplied by the magnetic energy fields of the other planets as they revolve in their various orbits.
Output: Who is the woman driving in her car?
Passage: A flying saucer is seen in the sky above the countryside by various eyewitnesses, including an American woman driving in her car. She crashes after being blinded by the craft's landing lights and deafened by its loud propulsion system. A stranger walks up to the car and sees that she is injured.
The stranger later enters a country inn very near where the sighting and accident took place. He is able to read people's thoughts, and when asked says he has no name. He also asserts that he is responsible for saving the life of Susan North, the car accident victim. She later walks into the inn a little dazed, but with her crash wounds nearly healed. After the mysterious stranger explains that he comes from the planet Venus, a guest at the inn, Arthur Walker, a high-ranking government official (and Susan's fiancé), calls the war ministry. With permission, Dr Meinard examines the stranger from Venus and says that he has no detectable pulse. The area surrounding the inn is quickly cordoned-off by the government.
Journalist Charles Dixon tries to learn more about the man from Venus. Dixon discovers that the stranger is able to speak multiple human languages, and that his people have learned quite a bit about humanity by listening to our radio broadcasts and viewing our television transmissions. He also explains how Venusians use 'magnetic brilliance' for their spaceship propulsion, supplied by the magnetic energy fields of the other planets as they revolve in their various orbits.
Output: Who is the American woman supposed to marry?
Passage: All rock now exposed in the area of the park is volcanic, but this has not always been the case. For hundreds of millions of years, the Lassen region underwent repeated uplifting to form mountains, only to have them worn down and submerged under encroaching seas. During the periods of submersion, sand, mud and limestone were deposited. Occasionally volcanic activity was associated with the mountain building.
About 70 million years ago, the area where the Cascade Range is now situated was under the most recent encroachment by the Pacific Ocean. The rocks that make up the modern Sierra Nevada and the Klamath Mountains were already in existence but deeply buried. Some 70 million years before (140 million years before present), the rocks that now make up the Klamaths broke away from the rocks that now make up the Sierras and moved 60 mi (97 km) west, leaving the flooded 'Lassen Strait.' This broad depression was a seaway that connected the marine basin in California with that in east central Oregon.The entire western portion of North America was being deformed from the Laramide orogeny starting around 70 million years ago. Gradually during millions of years, crustal rocks were folded and fractured and the seas driven away. This same bending and breaking of rocks relieved pressure on the hot material beneath the Earth's crust and permitted magma to rise toward the surface. Volcanoes burst into activity starting 30 million years ago from Washington southward along the Cascades and in the area now occupied by the Sierra Nevada. This activity continued until approximately 11 or 12 million years ago. Lava and ash reached a thickness of up to 10,000 ft (3,000 m) in some areas, forming what is now known as the western Cascades. These have been eroded until they are now rolling hills.
Meanwhile, toward the end of this activity, eruptions of a different kind took place on an unprecedented scale in eastern Oregon and Washington. From innumerable cracks, floods of highly fluid basaltic lava spread to cover an area of over 200,000 sq mi (520,000 km2). Now known as the Columbia Plateau, this great lava bed of flood basalt covers much of Oregon, Washington and even parts of Idaho. Northern California's Modoc Plateau is a thinner basaltic flow which some geologists associate with the Columbia Plateau, but there are technical objections to this. The High Cascades took shape as a distinct mountain belt as a result of this upheaval and the bending of the thick blanket of volcanic rocks. During the next 10 million years, a series of new basaltic volcanic cones similar to the shield volcanoes now found in Hawaii were built.
Output: What is the modern name for the area that formed after floods of highly fluid basaltic lava spread to cover an area of over 200,000 sq mi?
Passage: All rock now exposed in the area of the park is volcanic, but this has not always been the case. For hundreds of millions of years, the Lassen region underwent repeated uplifting to form mountains, only to have them worn down and submerged under encroaching seas. During the periods of submersion, sand, mud and limestone were deposited. Occasionally volcanic activity was associated with the mountain building.
About 70 million years ago, the area where the Cascade Range is now situated was under the most recent encroachment by the Pacific Ocean. The rocks that make up the modern Sierra Nevada and the Klamath Mountains were already in existence but deeply buried. Some 70 million years before (140 million years before present), the rocks that now make up the Klamaths broke away from the rocks that now make up the Sierras and moved 60 mi (97 km) west, leaving the flooded 'Lassen Strait.' This broad depression was a seaway that connected the marine basin in California with that in east central Oregon.The entire western portion of North America was being deformed from the Laramide orogeny starting around 70 million years ago. Gradually during millions of years, crustal rocks were folded and fractured and the seas driven away. This same bending and breaking of rocks relieved pressure on the hot material beneath the Earth's crust and permitted magma to rise toward the surface. Volcanoes burst into activity starting 30 million years ago from Washington southward along the Cascades and in the area now occupied by the Sierra Nevada. This activity continued until approximately 11 or 12 million years ago. Lava and ash reached a thickness of up to 10,000 ft (3,000 m) in some areas, forming what is now known as the western Cascades. These have been eroded until they are now rolling hills.
Meanwhile, toward the end of this activity, eruptions of a different kind took place on an unprecedented scale in eastern Oregon and Washington. From innumerable cracks, floods of highly fluid basaltic lava spread to cover an area of over 200,000 sq mi (520,000 km2). Now known as the Columbia Plateau, this great lava bed of flood basalt covers much of Oregon, Washington and even parts of Idaho. Northern California's Modoc Plateau is a thinner basaltic flow which some geologists associate with the Columbia Plateau, but there are technical objections to this. The High Cascades took shape as a distinct mountain belt as a result of this upheaval and the bending of the thick blanket of volcanic rocks. During the next 10 million years, a series of new basaltic volcanic cones similar to the shield volcanoes now found in Hawaii were built.
Output: What states are covered by the basaltic lava spread that covers 200,000 sq mi?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the last name of the person who created the painting that Lismer claimed had a tree that "was a symbol of the Canadian character"?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the name of the man that owned the island and spoke to the artist about cutting down trees?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the full name of the person that influenced the artist who inspired the man who painted "The West Wind"?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the last name of the artist that was an influence on the painter who painted "The Jack Pine"?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What piece of art is used to compare to Thomson's Poplars by a Lake to prove that he was inspired by the landscape artist?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What painting by Thompson heavily utilized a technique previously used by Arthur Lismer?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the last name of the painter that only applied the broken, high-key color technique to water?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the last name of the person whose enthusiasm is especially apparent in an anecdote?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the first name of the person whose most famous paintings are his depictions of pine trees?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the first name of the person Freure invited to his island?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the first name of the person who had great enthusiasm for trees and worked to capture their forms?
Passage: Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay:
One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful."
The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified their individual qualities. Byng Inlet, Georgian Bay shows the broken, high-keyed colour that Thomson and his colleagues experimented with later in his career, and is similar to Lismer's Sunglow. While Lismer only applied the technique to the water, Thomson applied it throughout the composition. According to MacCallum, Thomson worked on Pine Island, Georgian Bay over an extended period. He wrote that this painting had "more emotion and feeling than any other of [Thomson's] canvases". In contrast, MacDonald found it "rather commonplace in color & composition & not representative of Thomson at his best".
Output: What is the first name of the person who painted The Jack Pine and The West Wind?