What is the answer for the question: What is the full name of the person who effectively legitimized Netherlandish art as a field of study? from the following article ? The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian Max Jakob Friedlander's pioneering Meisterwerke der Niederlandischen Malerei des 15. und 16. Jahrhunderts. Friedlander focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German Erwin Panofsky's analysis in the 1950s and 1960s followed and in many ways challenged Friedlander's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early Italian renaissance. Panofsky was one of the first art historians to abandon formalism. He built on Friedlander's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.Otto Pacht and Friedrich Winkler continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded by the workshop system. It was not until the late 1950s, after the...
Ans: Erwin Panofsky

What is the answer for the question: What is the first name of the person who had turned down Waters' offer of a role on the development of his new solo album? from the following article ? In Waters' absence, Gilmour had been recruiting musicians for a new project. Months previously, keyboardist Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression that became "Learning to Fly", and so was invited onto the team. Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material; Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was "far easier for Dave and I to do our version of a Floyd record". Ezrin arrived in England in mid-1986 for what Gilmour later described as "mucking about with a lot of demos".At this stage, there was no commitment to a new Pink Floyd release, and Gilmour maintained that the material might become his third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music "doesn't sound a fucking thing like Pink Floyd". Gilmour later said that the new project was difficult without Waters. He experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore, who was credited as co-writer of "Learning to Fly" and "On the Turning Away". Whereas many prior Pink Floyd albums are concept albums, Gilmour settled for the more conventional approach of a collection of songs without a thematic link. By the end of that year, he had decided to make the material into a Pink Floyd project.
Ans: Bob

What is the answer for the question: What is the title of the work within whose thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow? from the following article ? The first three symphonies, to which Vaughan Williams assigned titles rather than numbers, form a sub-group within the nine, having programmatic elements, absent from the later six.A Sea Symphony (1910), the only one of the series to include a part for full choir, differs from most earlier choral symphonies in that the choir sings in all the movements. The extent to which it is a true symphony has been debated; in a 2013 study, Alain Frogley describes it as a hybrid work, with elements of symphony, oratorio and cantata. Its sheer lengthabout eighty minuteswas unprecedented for an English symphonic work, and within its thoroughly tonal construction it contains harmonic dissonances that pre-echo the early works of Stravinsky which were soon to follow.A London Symphony (19111913) which the composer later observed might more accurately be called a "symphony by a Londoner", is for the most part not overtly pictorial in its presentation of London. Vaughan Williams insisted that it is "self-expressive, and must stand or fall as 'absolute' music". There are some references to the urban soundscape: brief impressions of street music, with the sound of the barrel organ mimicked by the orchestra; the characteristic chant of the lavender-seller; the jingle of hansom cabs; and the chimes of Big Ben played by harp and clarinet. But commentators have heardand the composer never denied or confirmedsome social comment in sinister echoes at the end of the scherzo and an orchestral outburst of pain and despair at the opening of the finale. Schwartz comments that the symphony, in its "unified presentation of widely heterogeneous elements", is "very much like the city itself". Vaughan Williams said in his later years that this was his favourite of the symphonies.The last of the first group is A Pastoral Symphony (1921). The first three movements are for orchestra alone; a wordless solo soprano or tenor voice is added in the finale. Despite the title the symphony draws little on the folk-songs beloved of the composer, and the...
Ans: A Sea Symphony