Problem: Marc Zakharovich Chagall ( sh@-GAHL; born Moishe Zakharovich Shagal; 6 July [O.S. 24 June] 1887 - 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in virtually every artistic format, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints. Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists".

Goodman notes that during this period in Russia, Jews had two basic alternatives for joining the art world: One was to "hide or deny one's Jewish roots". The other alternative--the one that Chagall chose--was "to cherish and publicly express one's Jewish roots" by integrating them into his art. For Chagall, this was also his means of "self-assertion and an expression of principle." Chagall biographer Franz Meyer, explains that with the connections between his art and early life "the hassidic spirit is still the basis and source of nourishment for his art." Lewis adds, "As cosmopolitan an artist as he would later become, his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers... [with] scenes of childhood so indelibly in one's mind and to invest them with an emotional charge so intense that it could only be discharged obliquely through an obsessive repetition of the same cryptic symbols and ideograms... " Years later, at the age of 57 while living in the United States, Chagall confirmed this when he published an open letter entitled, "To My City Vitebsk": Why? Why did I leave you many years ago? ... You thought, the boy seeks something, seeks such a special subtlety, that color descending like stars from the sky and landing, bright and transparent, like snow on our roofs. Where did he get it? How would it come to a boy like him? I don't know why he couldn't find it with us, in the city--in his homeland. Maybe the boy is "crazy", but "crazy" for the sake of art. ...You thought: "I can see, I am etched in the boy's heart, but he is still 'flying,' he is still striving to take off, he has 'wind' in his head." ... I did not live with you, but I didn't have one single painting that didn't breathe with your spirit and reflection.

what did he do to intergrate this roots in his art?

Answer with quotes: his storehouse of visual imagery would never expand beyond the landscape of his childhood, with its snowy streets, wooden houses, and ubiquitous fiddlers...

Problem: Sir Walter Winterbottom, CBE (31 March 1913 - 16 February 2002) was the first manager of the England football team (1946-1962) and FA Director of Coaching. He resigned from the FA in 1962 to become General Secretary of the Central Council of Physical Recreation (CCPR) and was appointed as the first Director of the Sports Council in 1965. He was knighted for his services to sport in 1978 when he retired. The Football Association marked the 100th anniversary of Winterbottom's birth by commissioning a bust which was unveiled by Roy Hodgson at St Georges Park on 23 April 2013 in recognition of his outstanding contribution to the development of English football.

Although Winterbottom is best known as the England team manager, it is in coaching that he made important contributions to the development of English football. He made no secret of his belief that his job as Director of Coaching was the more important of his two roles at the FA. When he joined the FA in 1946, club directors, managers and players were cynical about the need for coaching but Winterbottom had a passion for coaching and a vision of how it should develop. He soon created a national coaching scheme with summer residential courses at Lilleshall, Shropshire, and persuaded some of his international players to take the courses that led to exams for the FA preliminary and full coaching badges. This gave the scheme credibility. They developed their teaching skills by coaching in schools and then moved into part-time coaching positions in junior clubs. He gathered around him a cadre of young FA staff coaches: men like Bill Nicholson, Don Howe, Alan Brown, Ron Greenwood, Dave Sexton, Malcolm Allison, Joe Mercer, Vic Buckingham, Jimmy Hill and Bobby Robson. Over time a new breed of managers emerged in the League clubs and began to change attitudes to coaching. Winterbottom's courses were expanded to include professional players, referees, school masters, club trainers, schoolboys and youth leaders. In addition to Lilleshall they were held at Loughborough College, Carnegie College, Bisham Abbey and Birmingham University. In 1947 three hundred had taken the full coaching award and the numbers of qualified coaches grew each year. The courses attracted international participation and praise. Winterbottom was regarded by many as a leading technical thinker and exponent of association football, of his generation, in the world and lectured internationally. He inspired a new generation of managers, most notably Ron Greenwood and Bobby Robson, who graduated through every level of coaching, both eventually becoming England team manager.

How long were they with the team?

Answer with quotes:
graduated through every level of coaching, both eventually becoming England team manager.