Q: Given the following context: George Frederic Watts was born in 1817, the son of a London musical instrument manufacturer. His two brothers died in 1823, and his mother in 1826, giving Watts an obsession with death throughout his life. Watts was apprenticed as a sculptor at the age of 10, and by his mid-teens was proficient enough as an artist to be earning a living as a portrait painter. At the age of 18 he gained admission to the Royal Academy schools, although he disliked their methods and his attendance was intermittent. From 1837, Watts was successful enough to devote himself full-time to painting.In 1843 Watts travelled to Italy where he remained for four years. On his return to London he suffered from melancholia, and painted many notably gloomy works. His skills were widely celebrated, and in 1856 he decided to devote himself to portrait painting. His portraits were extremely highly regarded, and in 1867 he was elected to the Royal Academy, at the time the highest honour available to an artist, although he rapidly became disillusioned with its culture. From 1870 onwards he became widely renowned as a painter of allegorical and mythical subjects; by this time, he was one of the most highly regarded artists in the world. In 1881 he added a glass-roofed gallery to his home at Little Holland House, which was open to the public at weekends, further increasing his fame. answer the following question: What is the last name of the person who painted many notably gloomy works?
A: Watts

Question: Given the following context: During Ruisdael's last period he began to depict mountain scenes, such as Mountainous and Wooded Landscape with a River, dateable to the late 1670s. This portrays a rugged range with the highest peak in the clouds. Ruisdael's subjects became unusually varied. The art historian Wolfgang Stechow identified thirteen themes within the Dutch Golden Age landscape genre, and Ruisdael's work encompasses all but two of them, excelling at most: forests, rivers, dunes and country roads, panoramas, imaginary landscapes, Scandinavian waterfalls, marines, beachscapes, winter scenes, town views, and nocturnes. Only the Italianate and foreign landscapes other than Scandinavian are absent from his oeuvre.The imaginary landscapes of gardens that Ruisdael painted in the 1670s actually reflect an ongoing discourse on the picturesque in circles of gardening aesthetes like Constantijn Huygens. Slive finds it appropriate that a windmill is the subject of one of Ruisdael's most famous works. Windmill at Wijk bij Duurstede, dated 1670, shows Wijk bij Duurstede, a riverside town about 20 kilometres (12 mi) from Utrecht, with a dominant cylindrical windmill. In this composition, Ruisdael united typical Dutch elements of low-lying land, water and expansive sky, so that they converge on the equally characteristic Dutch windmill. The painting's enduring popularity is evidenced by card sales in the Rijksmuseum, with the Windmill ranking third after Rembrandt's Night Watch and Vermeer's View of Delft. Windmills featured throughout Ruisdael's entire career.Various panoramic views of the Haarlem skyline and its bleaching grounds appear during this stage, a specific genre called Haerlempjes, with the clouds creating various gradations of alternating bands of light and shadow towards the horizon. The paintings are often dominated by Saint Bavo's Church, in which Ruisdael would one day be buried.While Amsterdam does feature in his work, it does so relatively rarely given that Ruisdael lived there for over 25 years. It does feature in his only... answer the following question: What city features in Ruisdael's only known architectural subject?
Answer: Amsterdam

[Q]: Given the following context: Alan Dudley Bush (22 December 1900 31 October 1995) was a British composer, pianist, conductor, teacher and political activist. A committed communist, his uncompromising political beliefs were often reflected in his music. He composed prolifically across a range of genres, but struggled through his lifetime for recognition from the British musical establishment, which largely ignored his works. Bush, from a prosperous middle-class background, enjoyed considerable success as a student at the Royal Academy of Music (RAM) in the early 1920s, and spent much of that decade furthering his compositional and piano-playing skills under distinguished tutors. A two-year period in Berlin in 1929 to 1931, early in the Nazi Party's rise to power, cemented Bush's political convictions and moved him from the mainstream Labour Party to the Communist Party of Great Britain which he joined in 1935. He wrote several large-scale works in the 1930s, and was heavily involved with workers' choirs for whom he composed pageants, choruses and songs. His pro-Soviet stance led to a temporary ban on his music by the BBC in the early years of the Second World War, and his refusal to modify his position in the postwar Cold War era led to a more prolonged semi-ostracism of his music. As a result, the four major operas he wrote between 1950 and 1970 were all premiered in East Germany. In his prewar works, Bush's style retained what commentators have described as an essential Englishness, but was also influenced by the avant-garde European idioms of the inter-war years. During and after the war he began to simplify this style, in line with his Marxism-inspired belief that music should be accessible to the mass of the people. Despite the difficulties he encountered in getting his works performed in the West he continued to compose until well into his eighties. He taught composition at the RAM for more than 50 years, published two books, was the founder and long-time president of the Workers' Music Association, and served as chairman and... answer the following question: What is the last name of the person who simplified their style during and after the war?
****
[A]: Bush

Question: Given the following context: In 1841, Solomon Northup is a free African-American man working as a violinist, living with his wife and two children in Saratoga Springs, New York. Two white men, Brown and Hamilton, offer him short-term employment as a musician if he will travel with them to Washington, D.C. However, once they arrive they drug Northup and deliver him to a slave pen run by a man named Burch. Northup proclaims that he is a free man, only to be savagely beaten with a wooden paddle and then a leather belt. Northup is later shipped to New Orleans along with other captive African Americans. He is told by the others that if he wants to survive in the South, he must adapt to being a slave and not tell anyone he is a free man. A slave trader named Theophilus Freeman gives Northup the identity of "Platt", a runaway slave from Georgia, and sells him to plantation owner William Ford. Ford takes a liking to Northup and gives him a violin. However, tension grows between Northup and plantation carpenter John Tibeats which ends with Northup savagely beating and whipping Tibeats. Tibeats and his group try to hang Northup. Although they are not successful, Northup is left on the noose for hours before he is finally cut down. To save Northup's life, Ford sells him to another slave owner named Edwin Epps. In the process, Northup attempts to explain that he is actually a free man, but Ford tells him he is too afraid and that he cannot help him now. answer the following question: Who delivers Solomon Northup to Burch?
Answer:
Brown