niryuu/sni-each-converted huggingface dataset:
Passage: During his marriage to Cynthia, Lennon's first son Julian was born at the same time that his commitments with the Beatles were intensifying at the height of Beatlemania. Lennon was touring with the Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced that public knowledge of such things would threaten the Beatles' commercial success. Julian recalled that as a small child in Weybridge some four years later, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'" Lennon used it as the title of a Beatles song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song." Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into the Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian  ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."Lennon's relationship with Julian was already strained, and after Lennon and Ono moved to New York in 1971, Julian did not see his father again until 1973. With Pang's encouragement, arrangements were made for Julian and his mother to visit Lennon in Los Angeles, where they went to Disneyland. Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track. He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques. Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to reestablish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future." After his death it was revealed that he had left Julian very little in his will.
Output: What is the name of the person who said he was trying to reestablish a connection with the then 17-year-old?
Passage: During his marriage to Cynthia, Lennon's first son Julian was born at the same time that his commitments with the Beatles were intensifying at the height of Beatlemania. Lennon was touring with the Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced that public knowledge of such things would threaten the Beatles' commercial success. Julian recalled that as a small child in Weybridge some four years later, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'" Lennon used it as the title of a Beatles song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song." Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into the Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian  ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."Lennon's relationship with Julian was already strained, and after Lennon and Ono moved to New York in 1971, Julian did not see his father again until 1973. With Pang's encouragement, arrangements were made for Julian and his mother to visit Lennon in Los Angeles, where they went to Disneyland. Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track. He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques. Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to reestablish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future." After his death it was revealed that he had left Julian very little in his will.
Output: What is the name of the person after whose death it was revealed that he had left Julian very little in his will?
Passage: During his marriage to Cynthia, Lennon's first son Julian was born at the same time that his commitments with the Beatles were intensifying at the height of Beatlemania. Lennon was touring with the Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced that public knowledge of such things would threaten the Beatles' commercial success. Julian recalled that as a small child in Weybridge some four years later, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'" Lennon used it as the title of a Beatles song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song." Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into the Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian  ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."Lennon's relationship with Julian was already strained, and after Lennon and Ono moved to New York in 1971, Julian did not see his father again until 1973. With Pang's encouragement, arrangements were made for Julian and his mother to visit Lennon in Los Angeles, where they went to Disneyland. Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track. He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques. Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to reestablish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future." After his death it was revealed that he had left Julian very little in his will.
Output: What is the name of the person in whose will Julian was left very little?
Passage: During his marriage to Cynthia, Lennon's first son Julian was born at the same time that his commitments with the Beatles were intensifying at the height of Beatlemania. Lennon was touring with the Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced that public knowledge of such things would threaten the Beatles' commercial success. Julian recalled that as a small child in Weybridge some four years later, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'" Lennon used it as the title of a Beatles song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song." Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into the Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian  ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."Lennon's relationship with Julian was already strained, and after Lennon and Ono moved to New York in 1971, Julian did not see his father again until 1973. With Pang's encouragement, arrangements were made for Julian and his mother to visit Lennon in Los Angeles, where they went to Disneyland. Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track. He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques. Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to reestablish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future." After his death it was revealed that he had left Julian very little in his will.
Output: What is the name of the person who confidently predicted, "Julian and I will have a relationship in the future"?
Passage: During his marriage to Cynthia, Lennon's first son Julian was born at the same time that his commitments with the Beatles were intensifying at the height of Beatlemania. Lennon was touring with the Beatles when Julian was born on 8 April 1963. Julian's birth, like his mother Cynthia's marriage to Lennon, was kept secret because Epstein was convinced that public knowledge of such things would threaten the Beatles' commercial success. Julian recalled that as a small child in Weybridge some four years later, "I was trundled home from school and came walking up with one of my watercolour paintings. It was just a bunch of stars and this blonde girl I knew at school. And Dad said, 'What's this?' I said, 'It's Lucy in the sky with diamonds.'" Lennon used it as the title of a Beatles song, and though it was later reported to have been derived from the initials LSD, Lennon insisted, "It's not an acid song." Lennon was distant from Julian, who felt closer to McCartney than to his father. During a car journey to visit Cynthia and Julian during Lennon's divorce, McCartney composed a song, "Hey Jules", to comfort him. It would evolve into the Beatles song "Hey Jude". Lennon later said, "That's his best song. It started off as a song about my son Julian  ... he turned it into 'Hey Jude'. I always thought it was about me and Yoko but he said it wasn't."Lennon's relationship with Julian was already strained, and after Lennon and Ono moved to New York in 1971, Julian did not see his father again until 1973. With Pang's encouragement, arrangements were made for Julian and his mother to visit Lennon in Los Angeles, where they went to Disneyland. Julian started to see his father regularly, and Lennon gave him a drumming part on a Walls and Bridges track. He bought Julian a Gibson Les Paul guitar and other instruments, and encouraged his interest in music by demonstrating guitar chord techniques. Julian recalls that he and his father "got on a great deal better" during the time he spent in New York: "We had a lot of fun, laughed a lot and had a great time in general."In a Playboy interview with David Sheff shortly before his death, Lennon said, "Sean was a planned child, and therein lies the difference. I don't love Julian any less as a child. He's still my son, whether he came from a bottle of whiskey or because they didn't have pills in those days. He's here, he belongs to me, and he always will." He said he was trying to reestablish a connection with the then 17-year-old, and confidently predicted, "Julian and I will have a relationship in the future." After his death it was revealed that he had left Julian very little in his will.
Output: What is the name of the person who knew this blonde girl at school?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who worked as an interior designer?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who worked as a designer of furniture and rugs?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who began to paint images based on the Crucifixion in 1933?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person whose patron commissioned a series of three paintings on the Crucifixion?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who was often harshly self-critical?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who would abandon or destroy canvasses before they were completed?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who abandoned the Crucifixion theme then largely withdrew from painting in frustration?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who immersed themselves in love affairs, drinking, and gambling?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the last name of the person who returned to the topic of Crucifixion 11 years after quitting?
Passage: As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to be a bit freer." The painting was executed in a ground-floor flat at 7 Cromwell Place, South Kensington in London. A large back room in the building had been converted into a billiard room by its previous occupant, artist John Everett Millais. It was Bacon's studio by day; at night, abetted by Eric Hall and Bacon's childhood nanny Jessie Lightfoot, it functioned as an illicit casino.Although he had been painting for almost twenty years, Bacon steadfastly insisted that Three Studies was the fons et origo of his career. He destroyed many of his earlier canvasses, and tried to suppress those that had left his studio. Bacon was emphatic that no pre-1944 images be admitted into his canon, and most of the early art critics agreed with this position. The early publications of John Russell and David Sylvester open with the 1944 triptych, and Bacon insisted to his death that no retrospective should feature paintings pre-dating 1944.
Output: What is the full name of the person who began to paint images based on the Crucifixion in 1933 when his then-patron commissioned a series of three paintings on the subject?