praj-17/QA-MCQ-Open-ended huggingface dataset:
Title: Gothic_architecture
Context: Secular Gothic architecture can also be found in a number of public buildings such as town halls, universities, markets or hospitals. The Gdańsk, Wrocław and Stralsund town halls are remarkable examples of northern Brick Gothic built in the late 14th centuries. The Belfry of Bruges or Brussels Town Hall, built during the 15th century, are associated to the increasing wealth and power of the bourgeoisie in the late Middle Ages; by the 15th century, the traders of the trade cities of Burgundy had acquired such wealth and influence that they could afford to express their power by funding lavishly decorated buildings of vast proportions. This kind of expressions of secular and economic power are also found in other late mediaeval commercial cities, including the Llotja de la Seda of Valencia, Spain, a purpose built silk exchange dating from the 15th century, in the partial remains of Westminster Hall in the Houses of Parliament in London, or the Palazzo Pubblico in Siena, Italy, a 13th-century town hall built to host the offices of the then prosperous republic of Siena. Other Italian cities such as Florence (Palazzo Vecchio), Mantua or Venice also host remarkable examples of secular public architecture.

question: What is an example of secular Northern Brick Gothic architecture from the 14th century? 

answer: Stralsund town halls

question: When was Brussels Town Hall built? 

answer: built during the 15th century

question: What is the name of the secular building in Spain which was constructed for the purpose of silk exchange? 

answer: the Llotja de la Seda of Valencia

question: What is the name of the 13th-century town hall constructed to host the offices of the republic of Siena? 

answer: the Palazzo Pubblico

question: Impressive public secular architecture can also be found in what other Italian city? 

answer: Florence
Title: Gothic_architecture
Context: By the late Middle Ages university towns had grown in wealth and importance as well, and this was reflected in the buildings of some of Europe's ancient universities. Particularly remarkable examples still standing nowadays include the Collegio di Spagna in the University of Bologna, built during the 14th and 15th centuries; the Collegium Carolinum of the University of Prague in Bohemia; the Escuelas mayores of the University of Salamanca in Spain; the chapel of King's College, Cambridge; or the Collegium Maius of the Jagiellonian University in Kraków, Poland.

question: In what era had university towns grown in wealth and importance? 

answer: the late Middle Ages

question: What is the name of the university building in Bologna, built in the 14th and 15th centuries? 

answer: the Collegio di Spagna

question: What is the name of the building at University of Prague in Bohemia? 

answer: the Collegium Carolinum

question: What is the name of the secular building at the University of Salamanca in Spain?  

answer: the Escuelas mayores

question: What is the name of the secular building at the Jagiellonian University in Kraków, Poland? 

answer: the Collegium Maius
Title: Gothic_architecture
Context: Other cities with a concentration of secular Gothic include Bruges and Siena. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

question: What is one city with an accumulation of secular Gothic structures?  

answer: Bruges

question: What is another city with an accumulation of secular Gothic structures?  

answer: Siena

question: What style are most windows on secular Gothic structures? 

answer: flat-topped with mullions

question: Where are pointed arches and vaulted ceilings found on most secular Gothic structures? 

answer: a few focal points

question: What is the name of the surviving monastic building in England?  

answer: Mont Saint-Michel
Title: Gothic_architecture
Context: In 1663 at the Archbishop of Canterbury's residence, Lambeth Palace, a Gothic hammerbeam roof was built to replace that destroyed when the building was sacked during the English Civil War. Also in the late 17th century, some discrete Gothic details appeared on new construction at Oxford University and Cambridge University, notably on Tom Tower at Christ Church, Oxford, by Christopher Wren. It is not easy to decide whether these instances were Gothic survival or early appearances of Gothic revival.

question: What is the name of the Archbishop of Canterbury's residence? 

answer: Lambeth Palace

question: In what year was a Gothic hammerbeam roof installed on the Archbishop of Canterbury's residence? 

answer: In 1663

question: In what century were distinct Gothic details used on new construction at Oxford and Cambridge? 

answer: the late 17th century

question: Who used Gothic details in construction of Tom Tower, Oxford? 

answer: Christopher Wren
Title: Gothic_architecture
Context: In England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass "low church" as well as "high church" clients. This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.

question: When was neo-Gothic popularized by influential figures? 

answer: during the second quarter of the 19th century

question: In Britain after 1837, what was the Gothic revival known as? 

answer: Victorian Gothic

question: During what years was the High Victorian Gothic period in Britain? 

answer: 1855–1885

question: What movement was responsible for the philosophy which led to the revival of Anglo Catholic ideas?  

answer: the Oxford Movement

question: Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for? 

answer: institutional architecture
Title: Gothic_architecture
Context: The Houses of Parliament in London by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin, is an example of the Gothic revival style from its earlier period in the second quarter of the 19th century. Examples from the High Victorian Gothic period include George Gilbert Scott's design for the Albert Memorial in London, and William Butterfield's chapel at Keble College, Oxford. From the second half of the 19th century onwards it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types. Gothic details even began to appear in working-class housing schemes subsidised by philanthropy, though given the expense, less frequently than in the design of upper and middle-class housing.

question: Who was the exterior architect of the Houses of Parliament? 

answer: Sir Charles Barry

question: Who was the interior architect of the Houses of Parliament? 

answer: Augustus Welby Pugin

question: What style of architecture does the Houses of Parliament exemplify? 

answer: the Gothic revival style

question: Who designed the Albert Memorial in London? 

answer: George Gilbert Scott

question: Who designed the chapel at Keble College, Oxford? 

answer: William Butterfield
Title: Gothic_architecture
Context: In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.

question: Who was the main figure of the Gothic Revival in France? 

answer: Eugène Viollet-le-Duc

question: What famous French cathedral was restored and reconstructed by Viollet-le-Duc? 

answer: the Abbey of Saint-Denis

question: What modern building material did Viollet-le-Duc teach reform Gothic designers to work with? 

answer: cast iron

question: In what fortified city in Southern France did Viollet-le-Duc recreate historical Gothic constructions? 

answer: Carcassonne

question: What other famous French cathedral did Viollet-le-Duc work on? 

answer: Notre Dame de Paris
Title: Cubism
Context: The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.

question: Name the 8 peopl who began the movement 

answer: Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris.

question: Which person  was the most influential in beginning the movement with is three dimensional forms? 

answer: Paul Cézanne

question: What year's were Cezannes painting's displayed at Salon d'Automne? Not including the retrospectives. 

answer: 1905 and 1906
Title: Cubism
Context: In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

question: What were the three offshoots of Cubism formed in France? 

answer: Orphism, Abstract art and later Purism

question: What were the other offshoots formed in countries other than France? 

answer: Futurism, Suprematism, Dada, Constructivism and De Stijl

question: Which offshoot had little in common with Cubism? 

answer: Futurist

question: Which offshoot of cubism was influenced by Picasso?  

answer: Constructivism
Title: Cubism
Context: Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

question: Between what years did cubism begin?  

answer: 1907 and 1911

question: In the spring of what year did the first organized exhibition by cubist appear? 

answer: 1911

question: What was the name of the room that the first exhibition of Cubists took place? 

answer: Salle 41

question: Who mentioned the landscapes made by Picasso in the first Cubist paintings?  

answer: Gertrude Stein

question: In what city did the first exhibition of Cubists take place? 

answer: Paris
Title: Cubism
Context: Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

question: What was the first phase of Cubism known as?  

answer: Analytic Cubism

question: Who coined the phrase Analytic Cubsim?  

answer: Juan Gris

question: What was the second phase of Cubism called?  

answer: Synthetic Cubism

question: From what years did High Cubism take place?  

answer: 1909 to 1914

question: From what years did Late Cubism take place?  

answer: 1914 to 1921
Title: Cubism
Context: The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."

question: Who asserted that the flat canvas supported Cubism?  

answer: Daniel-Henry Kahnweiler

question: In what year was the assertion made that the flat canvas supported Cubism? 

answer: early as 1920

question: When was the assertion that the flat canvas supported Cubism put into debate? 

answer: 1950s and 1960s,

question: Who was the main opponent that began to argue that the flat canvas did not support Cubism?  

answer: Clement Greenberg.

question: Who's work undermined Douglass  Coopers terms describing Cubism? 

answer: Picasso, Braque, Gris and Léger
Title: Cubism
Context: During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.

question: Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art? 

answer: Paul Gauguin, Henri Matisse, and Pablo Picasso

question: What about the Native cultures art inspired Matisse, Picasso, and Gauguin? 

answer: stark power and simplicity

question: Who did Picasso meet around 1906 that had also recenelty learned about Primitivism?  

answer: Gertrude Stein,

question: What were Picasso's 1907 paintings usually characterized by?  

answer: Protocubism
Title: Cubism
Context: The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."

question: Which two artists did Douglass Cooper say were very important to the forming of Cubism? 

answer: Paul Gauguin and Paul Cézanne

question: What does Cooper say is the first  Cubist picture?  

answer: The Demoiselles

question: Is it true that the first Cubist picture is The Demoiselles?  

answer: although it was a major first step towards Cubism it is not yet Cubist.
Title: Cubism
Context: The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.

question: What did Daniel Robbins say about Demoiselles being the beginning of Cubism? 

answer: such deductions are unhistorical

question: During which years did the conscious begin to look for a new style in Germany, Italy, Russia, and Holland? 

answer: 1905 and 1908,

question: Which impressionist movements were also influenced by Cubism? 

answer: Les Nabis and the Symbolists

question: Which technique did the Impressionists use to make their subjects simple forms? 

answer: double point of view
Title: Cubism
Context: In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.

question: Besides Seurat where else are the beginnigs of Cubism found? 

answer: in the two distinct tendencies of Cézanne's later work

question: Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom? 

answer: Cézanne

question: Cubism revolutionized the way things could be seen in art how?  

answer: all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time.
Title: Cubism
Context: The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."

question: When did the historical study of Cubism begin? 

answer: in the late 1920s

question: On who's opinions were the beginnings of the this historical study of Cubism based? 

answer: Guillaume Apollinaire

question: On which book and who was the author was one of the main sources of the historical study of Cubism based? 

answer: Daniel-Henry Kahnweiler's book Der Weg zum Kubismus
Title: Cubism
Context: The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."

question: Understanding who's work was the tradition meaning of Cubism formed on? 

answer: Braque and Picasso

question: Who suggested that the artists other than Braque and Picasso's relgation to a distant role in Cubism was a mistake? 

answer: Daniel Robbins

question: What other painters were not thought of as being as Cubist as Braque and Picasso? 

answer: Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier