Found the following article online, use it to answer the question: What is the spatial device Bacon continued to incorporate and used many times throughout his career? As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest. He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject. These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds, and surrealist props such as flowers and umbrellas. The art critic Wieland Schmied noted that while the early works are "aesthetically pleasing", they lack "a sense of urgency or inner necessity; they are beautiful, but lifeless". The sentiment is echoed by Hugh Davies, who wrote that Bacon's 1933 paintings "suggest an artist concentrating more on formal than on expressive concerns". Bacon admitted that his early works were not successful; they were merely decorative and lacking in substance. He was often harshly self-critical during this period, and would abandon or destroy canvasses before they were completed. He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on Oresteia. He continued to incorporate the spatial device he was to use many times throughout his careerthree lines radiating from this central figure, which was first seen in Crucifixion, 1933. Three Studies was painted over the course of two weeks in 1944, when, Bacon recalled, "I was in a bad mood of drinking, and I did it under tremendous hangovers and drink; I sometimes hardly knew what I was doing. I think perhaps the drink helped me to...
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Answer: three lines radiating from this central figure

Found the following article online, use it to answer the question: What is the last name of the person that said the album released in 1982 offered a middle ground between funk and jazz? A few weeks after Of Human Feelings was recorded, Mwanga went to Japan to negotiate a deal with Trio Records to have the album released on Phrase Text. Trio, who had previously released a compilation of Coleman's 1966 to 1971 live performances in Paris, prepared to press the album once Mwanga provided the label with the record stamper. Coleman was also set to perform his song "Skies of America" with the NHK Symphony Orchestra, but cancelled both deals upon Mwanga's return from Japan. Mwanga immediately quit after less than four months as Coleman's manager. In 1981, Coleman hired Stan and Sid Bernstein as his managers, who sold the album's recording tapes to Island Records. He signed with the record label that year, and Of Human Feelings was released in 1982 on Island's subsidiary jazz label Antilles Records. Billboard magazine published a front-page story at the time about its distinction as both the first digital album recorded in New York City and the first digital jazz album recorded by an American label.According to jazz writer Francis Davis, "a modest commercial breakthrough seemed imminent" for Coleman, who appeared to be regaining his celebrity. German musicologist Peter Niklas Wilson said the album may have been the most tuneful and commercial-sounding of his career at that point. The album's clean mix and relatively short tracks were interpreted as an attempt for radio airplay by Mandel, who described its production as "the surface consistency that would put it in the pop sphere". Of Human Feelings had no success on the American pop charts, only charting on the Top Jazz Albums, where it spent 26 weeks and peaked at number 15. Because the record offered a middle ground between funk and jazz, McRae argued that it consequently appealed to neither demographic of listeners. Sound & Vision critic Brent Butterworth speculated that it was overlooked because it had electric instruments, rock and funk drumming, and did not conform to what he felt was the hokey image of jazz that many of the genre's fans...
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Answer: McRae

Found the following article online, use it to answer the question: What museums did the man who the Leeds School of Art set up a sculpture studio for study at in London? After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brancusi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing...
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Answer:
Victoria and Albert Museum