Problem: Given the question: Given the following context: 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... answer the following question: What is the last name of the person who returned to the topic of Crucifixion 11 years after quitting?
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The answer is:
Bacon

Problem: Given the question: Given the following context: An unconformity of 15 to 20 million years separates the Supai Group from the previously deposited Redwall Formation. Supai Group was deposited in late Mississippian, through the Pennsylvanian and into the early Permian time, some 320 million to 270 million years ago. Both marine and non-marine deposits of mud, silt, sand and calcareous sediments were laid down on a broad coastal plain similar to the Texas Gulf Coast of today. Around this time, the Ancestral Rocky Mountains rose in Colorado and New Mexico and streams brought eroded sediment from them to the Grand Canyon area.Supai Group formations in the western part of the canyon contain limestone, indicative of a warm, shallow sea, while the eastern part was probably a muddy river delta. This formation consists of red siltstones and shale capped by tan-colored sandstone beds that together reach a thickness of 600 to 700 ft (around 200 m). Shale in the early Permian formations in this group were oxidized to a bright red color. Fossils of amphibian footprints, reptiles, and plentiful plant material are found in the eastern part and increasing numbers of marine fossils are found in the western part.Formations of the Supai Group are from oldest to youngest (an unconformity is present at the top of each): Watahomigi (see 5a in figure 1) is a slope-forming gray limestone with some red chert bands, sandstone, and purple siltstone that is 100 to 300 feet (30 to 90 m) thick. Manakacha (see 5b in figure 1) is a cliff- and slope-forming pale red sandstone and red shale that averages 300 feet (90 m) thick in Grand Canyon. Wescogame (see 5c in figure 1) is a ledge- and slope-forming pale red sandstone and siltstone that is 100 to 200 feet (30 to 60 m) thick. Esplanade (see 5d in figure 1) is a ledge- and cliff-forming pale red sandstone and siltstone that is 200 to 800 feet (60 to 200 m) thick. An unconformity marks the top of the Supai Group. answer the following question: What formation was the oldest of the Supai Group?
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The answer is:
Watahomigi

Problem: Given the question: Given the following context: In the autumn of 1927, Messiaen joined Dupre's organ course. Dupre later wrote that Messiaen, having never seen an organ console, sat quietly for an hour while Dupre explained and demonstrated the instrument, and then came back a week later to play Johann Sebastian Bach's Fantasia in C minor to an impressive standard. From 1929, Messiaen regularly deputised at the Eglise de la Sainte-Trinite, Paris, for the organist Charles Quef, who was ill at the time. The post became vacant in 1931 when Quef died, and Dupre, Charles Tournemire and Widor among others supported Messiaen's candidacy. His formal application included a letter of recommendation from Widor. The appointment was confirmed in 1931, and he remained the organist at the church for more than sixty years. He also assumed a post at the Schola Cantorum de Paris in the early 1930s. In 1932, he composed the Apparition de l'eglise eternelle for organ. He married the violinist and composer Claire Delbos also in 1932. Their marriage inspired him to both compose works for her to play (Theme et variations for violin and piano in the year they were married) and to write pieces to celebrate their domestic happiness, including the song cycle Poemes pour Mi in 1936, which he orchestrated in 1937. Mi was Messiaen's affectionate nickname for his wife. In 1937 their son Pascal was born. The marriage turned to tragedy when Delbos lost her memory after an operation towards the end of World War II. She spent the rest of her life in mental institutions.In 1936, along with Andre Jolivet, Daniel-Lesur and Yves Baudrier, Messiaen formed the group La jeune France ("Young France"). Their manifesto implicitly attacked the frivolity predominant in contemporary Parisian music and rejected Jean Cocteau's 1918 Le coq et l'arlequin in favour of a "living music, having the impetus of sincerity, generosity and artistic conscientiousness". Messiaen's career soon departed from this polemical phase. answer the following question: What is the name of the person who was married to Claire Delbos?
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The answer is:
Messiaen