I have a test where I am given the following article, what is an answer for the question: What is the first name of the person Russell was the biographer for? ? Head VI is an oil-on-canvas painting by the Irish-born figurative artist Francis Bacon, the last of six panels making up his "1949 Head" series. It shows a bust view of a single figure, modeled on Diego Velazquez's Portrait of Innocent X. Bacon applies forceful, expressive brush strokes, and places the figure within a glass cage structure, behind curtain-like drapery. This gives the effect of a man trapped and suffocated by his surroundings, screaming into an airless void. Head VI was the first of Bacon's paintings to reference Velazquez, whose portrait of Pope Innocent X haunted him throughout his career and inspired his series of "screaming popes", a loose series of which there are around 45 surviving individual works. Head VI contains many motifs that were to reappear in Bacon's work. The hanging object, which may be a light switch or curtain tassel, can be found even in his late paintings. The geometric cage is a motif that appears as late as his 198586 masterpiece Study for a Self-PortraitTriptych. Head VI was first exhibited in November 1949 at the Hanover Gallery in London, in a showing organised by one of the artist's early champions, Erica Brausen. At the time, Bacon was a highly controversial but respected artist, best known for his 1944 Three Studies for Figures at the Base of a Crucifixion, which made him the enfant terrible of British art. Head VI drew a mixed reaction from art critics; John Russell, later Bacon's biographer, at the time dismissed it as a cross between "an alligator shorn of its jaws and an accountant in pince-nez who has come to a bad end". In 1989 Lawrence Gowing wrote that the "shock of the picture, when it was seen with a whole series of heads ... was indescribable. It was everything unpardonable. The paradoxical appearance at once of pastiche and iconoclasm was indeed one of Bacon's most original strokes." Art critic and curator David Sylvester described it as a seminal piece from Bacon's unusually productive 194950 period, and one of Bacon's finest popes.
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Answer: Francis

I have a test where I am given the following article, what is an answer for the question: What were the names of the two people who tried to get in touch with each other by telepathy one New Year's Eve, but both men fell asleep before midnight struck ? In 1951, with secret means of communications established, Wolters sent his first letter to Speer in five years. He suggested that Speer move ahead with his memoirs. In January 1953, Speer began work on his draft memoirs, and over the next year lengthy missives, sometimes written on tobacco wrappings or candy wrappers but most often on toilet paper, made their way to Wolters' office in Coesfeld. Marion Riesser, who had continued as Wolters' secretary as he began private architectural practice, transcribed these notes into as many as forty closely typed pages per missive, and the draft totalled 1,100 pages. Wolters objected that Speer called Hitler a criminal in the draft, and Speer presciently observed that he would likely lose a good many friends were the memoirs ever to be published. Wolters had come to believe that reports of Nazi genocide were exaggerated by a factor of at least ten, that Hitler had not been given credit for the things he did right and that Germany had been harshly treated by the Allies.In the mid-1950s, Wolters quarrelled with Kempf who effectively dropped out of the network for a number of years, adding to the burden on Wolters and Riesser. While Speer's pleas for his former associate and his former secretary to work together eventually brought about a healing of the breach, this was to some degree superficial as Kempf was aware that Wolters, even then, disagreed with Speer's opinions. Wolters questioned Speer's readiness to accept responsibility for the Nazi regime's excesses and did not believe Speer had anything to apologise for, though the strength of his feelings on this point was kept from Speerbut not from Kempf and Riesser.Wolters was tireless in his efforts on behalf of Speer and his family to such an extent that his son, Fritz, later expressed feelings of neglect. For Speer's fiftieth birthday in March 1955, Wolters gathered letters from many of Speer's friends and wartime associates, and saw to it that they made their way inside the walls of Spandau in time for...
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Answer: Speer

I have a test where I am given the following article, what is an answer for the question: What is the name of the person who went into some detail about Rimsky-Korsakov's epiphany and turnaround regarding musical training, as well as his efforts to remedy this situation for himself? ? The Five was among the myriad of subjects Tchaikovsky discussed with his benefactress, Nadezhda von Meck. By January 1878, when he wrote to Mrs. von Meck about its members, he had drifted far from their musical world and ideals. In addition, The Five's finest days had long passed. Despite considerable effort in writing operas and songs, Cui had become better known as a critic than as a composer, and even his critical efforts competed for time with his career as an army engineer and expert in the science of fortification. Balakirev had withdrawn completely from the musical scene, Mussorgsky was sinking ever deeper into alcoholism, and Borodin's creative activities increasingly took a back seat to his official duties as a professor of chemistry. Only Rimsky-Korsakov actively pursued a full-time musical career, and he was under increasing fire from his fellow nationalists for much the same reason as Tchaikovsky had been. Like Tchaikovsky, Rimsky-Korsakov had found that, for his own artistic growth to continue unabated, he had to study and master Western classical forms and techniques. Borodin called it "apostasy", adding, "Many are grieved at present by the fact that Korsakov has turned back, has thrown himself into a study of musical antiquity. I do not bemoan it. It is understandable...." Mussorgsky was harsher: "[T]he mighty kuchka had degenerated into soulless traitors."Tchaikovsky's analysis of each of The Five was unsparing. While at least some of his observations may seem distorted and prejudiced, he also mentions some details which ring clear and true. His diagnosis of Rimsky-Korsakov's creative crisis is very accurate. He also calls Mussorgsky the most gifted musically of the Five, though Tchaikovsky could not appreciate the forms Mussorgsky's originality took. Nonetheless, he badly underestimates Borodin's technique and gives Balakirev far less than his full dueall the more telling in light of Balakirev's help in conceiving and shaping Romeo and Juliet.Tchaikovsky wrote to Nadezhda von Meck that all...
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Answer:
Tchaikovsky