Q: Found the following article online, use it to answer the question: What was critic Felix Tournachon describing when he said "antastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!"? Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres;...
A: Bertin's hands
Question: Found the following article online, use it to answer the question: What is the name of the park in whose eastern area at the end of the 19th century was under the local government control of Stretford Urban District? The eastern area of the park, where the first developments took place at the end of the 19th century, was then under the local government control of Stretford Urban District; the west was controlled by the urban district of Barton-upon-Irwell. Tensions soon began to emerge between the Estates Company and Stretford Council over the provision of local services and infrastructure. In 1902, W. T. Glover & Co, a cable manufacturing company that had moved to the park from nearby Salford, built a power station next to their works to supply electricity to the rest of the park; the Estates Company had previously approached Manchester Corporation, but Stretford would not allow another local authority to supply electricity within its area.In 1901 Manchester Corporation formally proposed a merger with Stretford UDC, on the basis that Stretford's growth was due in large part to Trafford Park, the growth of which in turn was largely due to the Manchester Ship Canal. Manchester Corporation had provided one-third of the capital needed to build the ship canal, for which it had doubled its municipal debt, despite having also increased rates by 26 per cent between 1892 and 1895. Stretford and Lancashire County Council opposed the merger, which was rejected following a government inquiry. In 1969 Pevsner wrote: "That [neighbouring] Stretford and Salford are not administratively one with Manchester is one of the most curious anomalies of England."The tensions between Stretford and the Estates Company began to come to a head in 1906, when in response to complaints in the press about the state of one particular road in the park, Trafford Park Road, Stretford issued formal notices demanding that all premises with frontage onto the road pay for its improvement. Further disputes over the standard of roads in the park followed until, in 1907, the Estates Company presented a petition to Lancashire County Council demanding that Trafford Park should be an urban district in its own right, independent of Stretford. The county council...
Answer: Trafford Park
Question: Found the following article online, use it to answer the question: What is the last name of the person who referred to Heavy as a Really Heavy Thing as "basically a collection," and deemed its production poor? Strapping Young Lad began in 1994 as a solo project of Canadian musician Devin Townsend. Following his work as vocalist on Steve Vai's 1993 album Sex & Religion and its 1994 tour, Townsend believed he had been a "musical whore", spending "the first five years of [his] career working at the behest of other people". During a brief stint as touring guitarist for The Wildhearts, Townsend received a phone call from an A&R representative for Roadrunner Records, expressing an interest in his demos and an intention to sign him. The offer was ultimately rescinded by the head of Roadrunner, who regarded Townsend's recordings as "just noise". He faced further rejection by Relativity Records, the label behind Vai's Sex & Religion, who saw no commercial appeal in his music. Century Media Records subsequently contacted the musician, offering him a contract to "make us some extreme albums". Townsend agreed to a five-album deal with the record label.Following his tour with The Wildhearts, Townsend began recording and producing his debut album, Heavy as a Really Heavy Thing, under the moniker Strapping Young Lad. According to Townsend, the recording process took "about a week". Embracing The Wildhearts' anarchist approach, "while focusing on dissonance and just being as over-the-top as [he] could", Townsend sang on the record and performed the majority of its instrumental tracks (with the assistance of a drum machine). A few songs, however, featured local session musicians, including guitarist Jed Simon, Townsend's future bandmate. Released on April 4, 1995, Heavy as a Really Heavy Thing was not widely recognized in the metal community. The album sold 143 copies in its first six months, but received favorable reviews from the heavy metal press. Its unusual musical ideasa synthesis of death, thrash, and industrial metal influencesprompted Andy Stout from Metal Hammer to call it "one of the most disturbing albums you'll hear for a very long time". Nevertheless, Townsend has repeatedly expressed his distaste for the...
Answer:
Townsend