In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Input: Consider Input: Passage: Fuller's time at Adyar was eventful. Leadbeater arrived around the same time as Fuller, and soon afterward he "discovered" the person he believed would become a global teacher and orator, Jiddu Krishnamurti (then in his teens). Leadbetter and others tutored Krishnamurti. Fuller may have taught him photography. She also had a small studio built in the grounds, and painted. Her works from the period include a portrait of Leadbeater and Portrait of the Lord Buddha. McFarlane emphasises the significance of the latter work, pointing out that it is "strikingly modern" in comparison to all of Fuller's other work, and more radical than compositions created by Grace Cossington Smith and Roland Wakelin, half a decade later. The painting owes much to theosophy's emphasis on seeing the subject "through a psychic, visionary experience".
Sources describing Fuller's movements after her time in India sometimes are ambiguous. She arrived in England in June 1911, where she marched with Besant in the suffragette protests associated with the coronation of George V. She continued to paint portraits, but found it difficult to realise the transformation in her art that she had conceptualised in India:I have painted a great many portraits since I have been in England, and have been, I suppose, fairly successfulthough I have done nothing in any way remarkable. The hidden inner life has not yet succeeded in expressing itself on canvas, and I can only write myself as one who aspires to a greater art, but who has not yet achieved.
Question: What is the last name of the person who went to England in June 1911?

Output: Fuller.

Input: Consider Input: Passage: Bellette and Haefliger returned to Australia just before the outbreak of World War II. Shortly after her arrival, Bellette held an exhibition at Sydney's Macquarie Galleries. The couple became influential members of the Sydney Art Group, a network of "fashionable" moderns whose membership included William Dobell and Russell Drysdale. Bellette painted and held regular shows "a solo show every second year and a group show every year at the Macquarie Galleries". Her husband served as art critic for The Sydney Morning Herald for a decade and a half.In 1942, Bellette won the Sir John Sulman Prize with For Whom the Bell Tolls. She won it again in 1944 with her painting Iphigenia in Tauris, inspired by Euripides' play. The composition is set in a dry, open landscape, with several riders on horses whose appearance suggests "the Australian present, rather than Greek antiquity". The judge awarding the prize actually preferred another of her entries, Electra, depicting the sister of Iphigenia also prominent in Greek tragedy but it failed to meet the size requirements. Both Iphigenia in Tauris and Electra were among the many works created by Bellette in the 1940s that were inspired by the tragedies of Euripides, Sophocles and Homer. Her choice of subject matter and approach placed her at odds with mainstream modernism, while she seemed to shun explicit links between the classical and the Australian. Bellette reasoned that she preferred to choose her palette and the spatial arrangements of her compositions to evoke a place's atmosphere. Critics identified the influence of European modernists Aristide Maillol and Giorgio de Chirico, as well as Italian Quattrocento painters Masaccio and Piero della Francesca, about some of whom Bellette wrote articles in the journal Art in Australia.The most distinctive feature of the artist's work was this choice of classical subjects. In 1946, Bellette's paintings were hung in at least four separate exhibitions. Reviewers commented on her synthesis of "the impulsiveness of romanticism and the deliberateness of classicism", and her "romantically classical" approach. Despite the generally positive views, there were some reservations, particularly that the artist might be at risk of settling upon, and then repeating, a formula in her work. Bellette's treatment of classical subjects extended beyond conventional painting; in 1947 she created a textile design, titled "myths and legends", and in 1948 she created the sets for a production of Shakespeare's Pericles, Prince of Tyre. Her "vigorous imaginativeness" was well reviewed, though the acting was not.
Question: Whose "vigorous imaginativeness" was commented upon?

Output: Bellette.

Input: Consider Input: Passage: This article is about the residential palace. For the other palace on the same grounds, see Schloss Favorite, Ludwigsburg. For the city, see Ludwigsburg. For the porcelain manufactory, see Ludwigsburg porcelain.
Ludwigsburg Palace (Residenzschloss Ludwigsburg), also known as the "Versailles of Swabia", is a 452-room palace complex of 18 buildings located in Ludwigsburg, Baden-Wurttemberg, Germany. Its total area, including the gardens, is 32 ha (79 acres)the largest palatial estate in the country. The palace has four wings: the northern wing, the Alter Hauptbau, is the oldest and was used as a ducal residence; the east and west wings were used for court purposes and housing guests and courtiers; the southern wing, the Neuer Hauptbau, was built to house more court functions and was later used as a residence.
Eberhard Louis, Duke of Wurttemberg, appointed Philipp Joseph Jenisch to direct the work and construction began in 1704. In 1707, Jenisch was replaced with Johann Friedrich Nette, who completed the majority of the palace and surrounding gardens. Nette died in 1714, and Donato Giuseppe Frisoni finished much of the palace facades. In the final year of construction, Eberhard Louis died and the Neue Hauptbau's interiors were left incomplete. Charles Eugene's court architect, Philippe de La Guepiere, completed and refurbished parts of the New Hauptbau in the Rococo style, especially the palace theatre. Charles Eugene abandoned the palace for Stuttgart in 1775. Duke Frederick II, later King Frederick I, began using Ludwigsburg as his summer residence in the last years of Charles Eugene's reign. Frederick and his wife Charlotte, Princess Royal, resided at Ludwigsburg and employed Nikolaus Friedrich von Thouret to renovate the palace in the Neoclassical style. Thouret converted much of Ludwigsburg's interiors over the reign of Frederick and later life of Charlotte. As a result of each architect's work, Ludwigsburg is a combination of Baroque, Rococo, Neoclassical, and Empire style architecture.
The constitutions of the Free People's State and Kingdom of Wurttemberg were ratified at Ludwigsburg Palace in 1919 and 1819, respectively. It was the residence for four of Wurttemberg's monarchs and some other members of the House of Wurttemberg and their families. The palace was opened to the public in 1918 and then survived World War II intact. It later underwent periods of restoration in the 1950s, 1960s, and 1990s and again for the palace's 300th anniversary in 2004. The palace had more than 350,000 visitors in 2017 and has hosted the Ludwigsburg Festival every year since 1947.
Surrounding the palace are the Blooming Baroque (Bluhendes Barock) gardens, arranged in 1954 as they might have appeared in 1800. Nearby is Schloss Favorite, a hunting lodge built in 1717 by Frisoni. Within the palace are two museums operated by the Landesmuseum Wurttemberg dedicated to fashion and porcelain respectively.
Question: What year did the palace that was the residence for four of Wurttemberg's monarchs get over 350,000 visitors?
Output: 2017.