niryuu/sni-each-converted huggingface dataset:
Passage: After the death of her mother, Carrie McLaughlin has been living with her grandmother in Pittsburgh, Pennsylvania. When her grandmother needs to go to a nursing home, Carrie has to move in with her father Hank, a rancher in Wyoming, whom she hasn't seen since she was a baby.
Initially reluctant to adapt to country living, Carrie soon meets Flicka, a beautiful black Mustang that previously had belonged to Carrie's cousin Katy, who asked Hank to look after Flicka when her father sold their own ranch. Flicka is wild and dangerous and, according to the ranchers, longs for Katy. However, when Carrie is attacked by a rattlesnake, Flicka saves her and the two form a bond. Carrie also meets Jake, an attractive ranch hand hoping to become a country singer, and Amy Walker, the proud and arrogant daughter of a neighbour. Although Jake and Carrie take an immediate liking to each other, there is instant animosity between Carrie and Amy, mainly because Amy also likes Jake.
When Carrie disobeys her father's rules regarding visits to the nearest town, Hank decides to punish Carrie by temporarily relocating Flicka to the farm of one of his ranch hands, Toby. After a midnight visit by Carrie, Flicka tries to follow Carrie home to Hank's ranch, but accidentally ends up on the ranch belonging to Amy's father HD Walker. Upon entering the Walker ranch, Flicka damages a fence and releases some of HD's prize cows. At Amy's request, HD asks for Flicka as payment for the damage, threatening to turn it into a lawsuit if Hank refuses. Amy then starts training with Flicka for a championship, but performs poorly during the actual competition because of Flicka's fear of the crowd and camera flashes from the audience. HD and Amy decide to have Flicka slaughtered the next day, but Carrie frees the horse during the night and sets her free to join a nearby herd of Mustangs.
Output: What is the last name of the person Flicka forms a bond with?
Passage: After the death of her mother, Carrie McLaughlin has been living with her grandmother in Pittsburgh, Pennsylvania. When her grandmother needs to go to a nursing home, Carrie has to move in with her father Hank, a rancher in Wyoming, whom she hasn't seen since she was a baby.
Initially reluctant to adapt to country living, Carrie soon meets Flicka, a beautiful black Mustang that previously had belonged to Carrie's cousin Katy, who asked Hank to look after Flicka when her father sold their own ranch. Flicka is wild and dangerous and, according to the ranchers, longs for Katy. However, when Carrie is attacked by a rattlesnake, Flicka saves her and the two form a bond. Carrie also meets Jake, an attractive ranch hand hoping to become a country singer, and Amy Walker, the proud and arrogant daughter of a neighbour. Although Jake and Carrie take an immediate liking to each other, there is instant animosity between Carrie and Amy, mainly because Amy also likes Jake.
When Carrie disobeys her father's rules regarding visits to the nearest town, Hank decides to punish Carrie by temporarily relocating Flicka to the farm of one of his ranch hands, Toby. After a midnight visit by Carrie, Flicka tries to follow Carrie home to Hank's ranch, but accidentally ends up on the ranch belonging to Amy's father HD Walker. Upon entering the Walker ranch, Flicka damages a fence and releases some of HD's prize cows. At Amy's request, HD asks for Flicka as payment for the damage, threatening to turn it into a lawsuit if Hank refuses. Amy then starts training with Flicka for a championship, but performs poorly during the actual competition because of Flicka's fear of the crowd and camera flashes from the audience. HD and Amy decide to have Flicka slaughtered the next day, but Carrie frees the horse during the night and sets her free to join a nearby herd of Mustangs.
Output: What is the last name of the people who have a romantic interest in Jake?
Passage: After the death of her mother, Carrie McLaughlin has been living with her grandmother in Pittsburgh, Pennsylvania. When her grandmother needs to go to a nursing home, Carrie has to move in with her father Hank, a rancher in Wyoming, whom she hasn't seen since she was a baby.
Initially reluctant to adapt to country living, Carrie soon meets Flicka, a beautiful black Mustang that previously had belonged to Carrie's cousin Katy, who asked Hank to look after Flicka when her father sold their own ranch. Flicka is wild and dangerous and, according to the ranchers, longs for Katy. However, when Carrie is attacked by a rattlesnake, Flicka saves her and the two form a bond. Carrie also meets Jake, an attractive ranch hand hoping to become a country singer, and Amy Walker, the proud and arrogant daughter of a neighbour. Although Jake and Carrie take an immediate liking to each other, there is instant animosity between Carrie and Amy, mainly because Amy also likes Jake.
When Carrie disobeys her father's rules regarding visits to the nearest town, Hank decides to punish Carrie by temporarily relocating Flicka to the farm of one of his ranch hands, Toby. After a midnight visit by Carrie, Flicka tries to follow Carrie home to Hank's ranch, but accidentally ends up on the ranch belonging to Amy's father HD Walker. Upon entering the Walker ranch, Flicka damages a fence and releases some of HD's prize cows. At Amy's request, HD asks for Flicka as payment for the damage, threatening to turn it into a lawsuit if Hank refuses. Amy then starts training with Flicka for a championship, but performs poorly during the actual competition because of Flicka's fear of the crowd and camera flashes from the audience. HD and Amy decide to have Flicka slaughtered the next day, but Carrie frees the horse during the night and sets her free to join a nearby herd of Mustangs.
Output: What is the full name of the person who hasn't seen their father since they were baby?
Passage: After the death of her mother, Carrie McLaughlin has been living with her grandmother in Pittsburgh, Pennsylvania. When her grandmother needs to go to a nursing home, Carrie has to move in with her father Hank, a rancher in Wyoming, whom she hasn't seen since she was a baby.
Initially reluctant to adapt to country living, Carrie soon meets Flicka, a beautiful black Mustang that previously had belonged to Carrie's cousin Katy, who asked Hank to look after Flicka when her father sold their own ranch. Flicka is wild and dangerous and, according to the ranchers, longs for Katy. However, when Carrie is attacked by a rattlesnake, Flicka saves her and the two form a bond. Carrie also meets Jake, an attractive ranch hand hoping to become a country singer, and Amy Walker, the proud and arrogant daughter of a neighbour. Although Jake and Carrie take an immediate liking to each other, there is instant animosity between Carrie and Amy, mainly because Amy also likes Jake.
When Carrie disobeys her father's rules regarding visits to the nearest town, Hank decides to punish Carrie by temporarily relocating Flicka to the farm of one of his ranch hands, Toby. After a midnight visit by Carrie, Flicka tries to follow Carrie home to Hank's ranch, but accidentally ends up on the ranch belonging to Amy's father HD Walker. Upon entering the Walker ranch, Flicka damages a fence and releases some of HD's prize cows. At Amy's request, HD asks for Flicka as payment for the damage, threatening to turn it into a lawsuit if Hank refuses. Amy then starts training with Flicka for a championship, but performs poorly during the actual competition because of Flicka's fear of the crowd and camera flashes from the audience. HD and Amy decide to have Flicka slaughtered the next day, but Carrie frees the horse during the night and sets her free to join a nearby herd of Mustangs.
Output: What is the first name of the person that dislikes the girl who is new to country living for liking the aspiring country singer?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What are the full names of the two Ethiopian historians that have argued that modern Ethiopian studies were an invention the the 17th century?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What is the first name of the person who considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian Studies?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What is the first name of the person who criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What was the full name of the person that specifically took umbrage at E. A. Wallis Brudge's translation of the Kebra Nagast?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What was the full name of the person Messay Kebede argued had assigned a South Arabian origin to the Queen of Sheba?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What was the full name of the person who chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia?
Passage: Ethiopian historians such as Taddesse Tamrat (1935–2013) and Sergew Hable Sellassie have argued that modern Ethiopian studies were an invention of the 17th century and originated in Europe. Tamrat considered Carlo Conti Rossini's 1928 Storia d'Etiopia a groundbreaking work in Ethiopian studies. The philosopher Messay Kebede likewise acknowledged the genuine contributions of Western scholars to the understanding of Ethiopia's past. But he also criticized the perceived scientific and institutional bias that he found to be pervasive in Ethiopian-, African-, and Western-made historiographies on Ethiopia. Specifically, Kebede took umbrage at E. A. Wallis Budge's translation of the Kebra Nagast, arguing that Budge had assigned a South Arabian origin to the Queen of Sheba although the Kebra Nagast itself did not indicate such a provenience for this fabled ruler. According to Kebede, a South Arabian extraction was contradicted by biblical exegetes and testimonies from ancient historians, which instead indicated that the Queen was of African origin. Additionally, he chided Budge and Ullendorff for their postulation that the Aksumite civilization was founded by Semitic immigrants from South Arabia. Kebede argued that there is little physical difference between the Semitic-speaking populations in Ethiopia and neighboring Cushitic-speaking groups to validate the notion that the former groups were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations. He also observed that these Afroasiatic-speaking populations were heterogeneous, having interbred with each other and also assimilated alien elements of both uncertain extraction and negroid origin.
Output: What are the two groups Kebede argued were were essentially descendants of South Arabian settlers, with a separate ancestral origin from other local Afroasiatic-speaking populations?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person who found critical and commercial success in Paris?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person dubbed "Brother Seer" and "Brother Seeing Eye" by Paul Dermée?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person who was fascinated by the Cubism movement?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person who created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person whose uncle died shortly after he went to Paris?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person whose work gained publication in Germany?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person whose 30 photographs were presented by Slivinsky at the "Sacre du Printemps Gallery?"?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the first name of the person who had become connected with members of the growing Dada movement?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person who was dubbed "Brother Seer?"?
Passage: Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jenő later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period.
Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success.  In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life.  Visiting his sculptor friends, he was fascinated by the Cubism movement.  He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with  Lucien Vogel, the French editor and publisher of Vu.  Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
Output: What is the last name of the person who was dubbed "Brother Seeing Eye?"?