Q: What city was the man who was an important figure of Russian avant-garde serve as a cultural ambassador to? Answer the above question based on the context below: Lazar Markovich Lissitzky (Russian: , listen ; November 23 [O.S. November 11] 1890 December 30, 1941), known as El Lissitzky (Russian: , Yiddish: ), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewute Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish rigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in...
A: Weimar

Q: What is the first name of the person who produced hundreds of these small sketches, many of which are now considered works in their own right? Answer the above question based on the context below: Thomson was largely self-taught. His experiences as a graphic designer with Toronto's Grip Ltd. honed his draughtsmanship. Although he began painting and drawing at an early age, it was only in 1912, when he was well into his thirties, that he began to paint seriously. His first trips to Algonquin Park inspired him to follow the lead of fellow artists in producing oil sketches of natural scenes on small, rectangular panels for easy portability while travelling. Between 1912 and his death in 1917, Thomson produced hundreds of these small sketches, many of which are now considered works in their own right, and are mostly found in the Art Gallery of Ontario in Toronto, the National Gallery of Canada in Ottawa, the McMichael Canadian Art Collection in Kleinburg and the Tom Thomson Art Gallery in Owen Sound.Thomson produced nearly all of his works between 1912 and 1917. Most of his large canvases were completed in his most productive period, from late 1916 to early 1917. The patronage of James MacCallum enabled Thomson's transition from graphic designer to professional painter. Although the Group of Seven was not founded until after his death, his work was sympathetic to that of group members A. Y. Jackson, Frederick Varley, and Arthur Lismer. These artists shared an appreciation for rugged, unkempt natural scenery, and all used broad brush strokes and a liberal application of paint to capture the beauty and colour of the Ontario landscape. Thomson's art also bears some stylistic resemblance to the work of European post-impressionists such as Vincent van Gogh. Other key influences were the Art Nouveau and Arts and Crafts movements of the late nineteenth and early twentieth centuries, styles with which he became familiar while working in the graphic arts.
A: Tom

Q: What is the full name of the person Karagin falls in love with? Answer the above question based on the context below: In 1914 Tsarist Russia, Prince Peter Karagin is a captain of the Cossack Guards, riding home from manoeuvres to an evening of wine, women and song at St. Petersburg's Cafe Balalaika. The Balalaika's new star, Lydia Pavlovna Marakova, is blackmailed into attending the officers' party and is expected to choose a "favoured one." She intrigues Karagin when she makes good her escape instead. Masquerading as a poor music student, Karagin insinuating himself into Lydia's family and circle of musician friends, unaware that they are dedicated revolutionaries. He discovers his larcenous orderly, Nikki Poppov, courting the Marakovs' maid, Masha. Karagin then bullies Ivan Danchenoff, Director of the Imperial Opera, into giving Lydia an audition; Danchenoff is pleasantly surprised to find that (unlike the 60 other women foisted on him by other aristocrats) she has real talent. Later, Karagin orders his usual arrangements for seduction, but falls in love instead and tries to cancel them. She understands both his former and current motives, and admits she loves him too.
A: Lydia Pavlovna Marakova

Q: Who does not believe in suffering the troubles of life to reach paradise? Answer the above question based on the context below: Black and White converse about White's attempted suicide. White feels as though everything ends up in death, and that his life is minuscule in the throes of time. From White's point of view, no matter how great someone or something is, all that is created eventually fades away. This is the opposite of what Black believes. He believes that there is a God and that we all must go through the troubles of life to get to paradise. By his own account, his story is that of a man who has committed murder and was far away from God, but has now changed. Black feels that he can persuade White from committing suicide. With Black stopping White right before he was about to kill himself, Black feels that this is destiny. In the end, Black is not able to persuade White from suicide; he lets him leave the apartment. When White leaves, Black is left pondering why God would put him in a position to save this man's life knowing that there is nothing that he can do to stop White from going through with the suicide.
A:
White