Question: The following article contains an answer for the question: What is the first name of the person whose portrait provided the pattern for the queen's image in the procession picture? , can you please find it? The painting known as Queen Elizabeth going in procession to Blackfriars in 1601, or simply The Procession Picture (see illustration), is now often accepted as the work of Peake. The attribution was made by Roy Strong, who called it "one of the great visual mysteries of the Elizabethan age". It is an example of the convention, prevalent in the later part of her reign, of painting Elizabeth as an icon, portraying her as much younger and more triumphant than she was. As Strong puts it, "[t]his is Gloriana in her sunset glory, the mistress of the set piece, of the calculated spectacular presentation of herself to her adoring subjects". George Vertue, the eighteenth-century antiquarian, called the painting "not well nor ill done".Strong reveals that the procession was connected to the marriage of Henry Somerset, Lord Herbert, and Lady Anne Russell, one of the queen's six maids of honour, on 16 June 1600. He identifies many of the individuals portrayed in the procession and shows that instead of a litter, as was previously assumed, Queen Elizabeth is sitting on a wheeled cart or chariot. Strong also suggests that the landscape and castles in the background are not intended to be realistic. In accordance with Elizabethan stylistic conventions, they are emblematic, here representing the Welsh properties of Edward Somerset, Earl of Worcester, to which his son Lord Herbert was the heir. The earl may have commissioned the picture to celebrate his appointment as Master of the Queen's Horse in 1601.Peake clearly did not paint the queen, or indeed the courtiers, from life but from the "types" or standard portraits used by the workshops of the day. Portraits of the queen were subject to restrictions, and from about 1594 there seems to have been an official policy that she always be depicted as youthful. In 1594, the Privy council ordered that unseemly portraits of the queen be found and destroyed, since they caused Elizabeth "great offence". The famous Ditchley portrait (c. 1592), by Marcus Gheeraerts the Younger, was...
Answer: Marcus

Question: The following article contains an answer for the question: Who flirts with Tom's child? , can you please find it? Tom Hepple, a geologist, and Gerri Hepple, a counsellor, are an older married couple who have a comfortable, loving relationship. The film observes them over the course of the four seasons of a year, surrounded by family and friends who mostly suffer some degree of unhappiness. Gerri's friend and colleague, Mary, works as a receptionist at the health centre. She is a middle-aged divorcee seeking a new relationship, and despite telling everyone she is happy, appears desperate and depressed. She often seems to drink too much. The Hepples' only child, Joe, is 30 and unmarried and works as a solicitor giving advice on housing. In the summer, the Hepples are visited by Ken, Tom's old friend from his student days. Ken is overweight, eats, smokes and drinks compulsively and seems very unhappy. Tom and Gerri host a barbecue in Ken's honour. Mary drives her newly bought car to the party, but gets lost and arrives late. Having had some wine, she flirts with Joe, whom she has known since he was a child. He remains friendly but does not reciprocate the flirtation. After the party, Mary reluctantly gives Ken a lift to the train station. He makes a clumsy romantic advance and Mary irritably rejects him. Months later, in the autumn, Mary is once again at Tom and Gerri's home. Joe arrives with a new girlfriend, Katie. Mary appears rude and hostile towards Katie, which is not appreciated by Tom and Gerri. This creates a rift between Gerri and Mary. In the winter, Tom, Gerri, and Joe attend the funeral for the wife of Tom's brother, Ronnie. Towards the end of the service, Ronnie's estranged son, Carl, arrives, and angrily asks why the ceremony was not delayed for him. At the reception at Ronnie's house, Carl becomes aggressive and walks out. Tom and Gerri invite Ronnie back to London to stay with them for a while and Ronnie agrees.
Answer: Mary

Question: The following article contains an answer for the question: What is the last name of the person who became well respected for his ability to capture flesh tones accurately in painting? , can you please find it? William Etty (17871849), the seventh child of a York baker and miller, began his career as an apprentice printer in Hull at the age of 11. On completing his seven-year apprenticeship he moved to London "with a few pieces of chalk crayons", with the intention of becoming a history painter in the tradition of the Old Masters, and studied under renowned artist Thomas Lawrence. Strongly influenced by the works of Titian and Rubens, Etty submitted numerous paintings to the Royal Academy of Arts and the British Institution, all of which were either rejected or received little attention when exhibited.In 1821 the Royal Academy accepted and exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra), which depicted a large number of nude figures. Cleopatra was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, over the next decade Etty tried to replicate its success by painting nudes in biblical, literary and mythological settings. Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 included nude figures.While some nudes by foreign artists were held in private English collections, the country had no tradition of nude painting and the display and distribution of such material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. Etty was the first British artist to specialise in painting nudes, and many critics condemned his repeated depictions of female nudity as indecent, although his portraits of male nudes were generally well received. From 1832 onwards, needled by repeated attacks from the press, Etty remained a prominent painter of nudes, but made conscious efforts to try to reflect moral lessons in his work.
Answer:
Etty