niryuu/sni-each-converted huggingface dataset:
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person whose primary interest as an artist was the contemplation of nature?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person whose often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person who studied in Copenhagen until 1798?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person who came of age during a period when a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person who was said to be a man who had discovered the "tragedy of landscape"?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person whose work fell from favor during his later years?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person who had a new appreciation for his work occur in the early 20th century?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person who had an exhibition of 32 of his paintings in Berlin in 1906?
Passage: Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic or megalithic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen until 1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity. As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Output: What is the last name of the person whose paintings had been discovered by the Expressionists in the 1920s?
Passage: Work on the steel structure of the RCA Building started in March 1932. Meanwhile, the British and French governments had already agreed to occupy the first two internationally themed buildings, and John Rockefeller Jr. started signing tenants from the respective countries. The cornerstone of the British Empire Building was laid in June, when Francis Hopwood, 1st Baron Southborough, placed the symbolic first stone in a ceremony. Significant progress on the theaters had been made by then: RKO Roxy's brickwork had been completed and the limestone-and-granite facade was almost ready to be installed, while the Music Hall's steelwork was complete. By September, both theaters were almost finished, as was the RCA Building, whose structural steel was up to the 64th floor. That month also saw the opening of the RKO Building, the first structure in the complex to be opened. The British Empire Building's structural steel started construction in October.The Music Hall was the second site to open, on December 27, 1932, although it had topped out in August. This was followed by the RKO Roxy's opening two days later. Roxy originally intended to use the Music Hall as a vaudeville theater, but the opening of the Music Hall was widely regarded as a flop, and both theaters ended up being used for films and performing arts. Radio City's Roxy Theatre had to be renamed the Center Theatre in May 1933 after a lawsuit by William Fox, who owned the original Roxy Theatre on 50th Street. The failure of the vaudeville theater ended up ruining Roxy's enterprise, and he was forced to resign from the center's management in January 1934.The cornerstone of La Maison Francaise was laid on April 29, 1933, by former French prime minister Édouard Herriot. The British Empire Building was open less than a week later. The RCA Building was slated to be open by May 1, but was delayed because of controversy over the Man at the Crossroads mural in the lobby. In July 1933, the managers opened a 70th-story observation deck atop the RCA Building, It was a great success: the 40-cents-per-head observation deck saw 1,300 daily visitors by late 1935.Work on the rooftop gardens started in October 1933, and La Maison Francaise opened the same month. In December 1933, workers erected the complex's famed Christmas tree in the center of the plaza for the first time. Since then, it has been a yearly tradition to display a large Christmas tree at the plaza between November and January.Simultaneously, the city built the part of the canceled "Metropolitan Avenue" that ran through Rockefeller Center. The new street, called "Rockefeller Plaza", was projected to carry an estimated 7,000 vehicles per day upon opening. The first segment, between 49th and 50th streets, opened in 1933, and a northern extension opened in 1934. The new street measured over 60 feet (18 m) wide and ran 722 feet (220 m) through the complex, with four vehicular levels.
Output: What are the names of the theaters that ended up being used for films and performing arts?
Passage: Work on the steel structure of the RCA Building started in March 1932. Meanwhile, the British and French governments had already agreed to occupy the first two internationally themed buildings, and John Rockefeller Jr. started signing tenants from the respective countries. The cornerstone of the British Empire Building was laid in June, when Francis Hopwood, 1st Baron Southborough, placed the symbolic first stone in a ceremony. Significant progress on the theaters had been made by then: RKO Roxy's brickwork had been completed and the limestone-and-granite facade was almost ready to be installed, while the Music Hall's steelwork was complete. By September, both theaters were almost finished, as was the RCA Building, whose structural steel was up to the 64th floor. That month also saw the opening of the RKO Building, the first structure in the complex to be opened. The British Empire Building's structural steel started construction in October.The Music Hall was the second site to open, on December 27, 1932, although it had topped out in August. This was followed by the RKO Roxy's opening two days later. Roxy originally intended to use the Music Hall as a vaudeville theater, but the opening of the Music Hall was widely regarded as a flop, and both theaters ended up being used for films and performing arts. Radio City's Roxy Theatre had to be renamed the Center Theatre in May 1933 after a lawsuit by William Fox, who owned the original Roxy Theatre on 50th Street. The failure of the vaudeville theater ended up ruining Roxy's enterprise, and he was forced to resign from the center's management in January 1934.The cornerstone of La Maison Francaise was laid on April 29, 1933, by former French prime minister Édouard Herriot. The British Empire Building was open less than a week later. The RCA Building was slated to be open by May 1, but was delayed because of controversy over the Man at the Crossroads mural in the lobby. In July 1933, the managers opened a 70th-story observation deck atop the RCA Building, It was a great success: the 40-cents-per-head observation deck saw 1,300 daily visitors by late 1935.Work on the rooftop gardens started in October 1933, and La Maison Francaise opened the same month. In December 1933, workers erected the complex's famed Christmas tree in the center of the plaza for the first time. Since then, it has been a yearly tradition to display a large Christmas tree at the plaza between November and January.Simultaneously, the city built the part of the canceled "Metropolitan Avenue" that ran through Rockefeller Center. The new street, called "Rockefeller Plaza", was projected to carry an estimated 7,000 vehicles per day upon opening. The first segment, between 49th and 50th streets, opened in 1933, and a northern extension opened in 1934. The new street measured over 60 feet (18 m) wide and ran 722 feet (220 m) through the complex, with four vehicular levels.
Output: What was the name of the theater which failure ended up ruining Roxy's enterprise?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What are the first names of the people who purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What are the first names of the two Chapman brothers who created a number of etching variations based on the plate Grande hazaña! Con muertos!?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What are the first names of the two Chapman brothers for whom Goya's series of etching served as a constant point of reference?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What are the first names of the two Chapman brothers who, in 2003, exhibited an altered version of The Disasters of War?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What are the first names of the two individuals who purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What are the first names of the two Chapman brothers who described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: In what specific year were a collection of works created by the Chapman brothers purchased by the Tate Gallery?
Passage: Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863.
Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!.
In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush purporting to bring democracy to Iraq.
Output: What is the name of the person whose works are referenced in films such as the Buñuel and Dalí collaboration, L'Âge d'Or?