Problem: Given the question: What were the full names of the people who had a niece named Cecile Bapst? Answer the above question based on the context below: 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;...
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The answer is:
Marie-Louise-Sophie Bertin

Problem: Given the question: What is the full name of the person who had been recommending the future Vicious? Answer the above question based on the context below: Matlock was replaced by Rotten's friend and self-appointed "ultimate Sex Pistols fan" Sid Vicious. Born John Simon Ritchie, later known as John Beverley, Vicious was previously drummer of two inner circle punk bands, Siouxsie and the Banshees and The Flowers of Romance. He was also credited with introducing the pogo dance to the scene at the 100 Club. John Robb claims it was at the first Sex Pistols residency gig, 11 May 1976; Matlock is convinced it happened during the second night of the 100 Club Punk Special in September, when the Pistols were off playing in Wales. In Matlock's description, Rotten wanted Vicious in the band because "[i]nstead of him against Steve and Paul, it would become him and Sid against Steve and Paul. He always thought of it in terms of opposing camps".Julien Temple, then a film student whom McLaren had put on the Sex Pistols payroll to create a comprehensive audiovisual record of the band, concurs: "Sid was John's protege in the group, really. The other two just thought he was crazy." McLaren later stated that, much earlier in the band's career, Vivienne Westwood had told him he should "get the guy called John who came to the store a couple of times" to be the singer. When Johnny Rotten was recruited for the band, Westwood said McLaren had got it wrong: "he had got the wrong John." It was John Beverley, the future Vicious, she had been recommending. McLaren approved the belated inclusion of Vicious, who had virtually no experience on his new instrument, on account of his look and reputation in the punk scene.
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The answer is:
Vivienne Westwood

Problem: Given the question: What is the precise name of the work that, according to Catherine Keenan, "is an engineering marvel"? Answer the above question based on the context below: Oliver was not one to intellectualise her creativity: she preferred to talk about the process of creating her artworks rather than their meanings. Asked about how she approached her art, she stated: My work is about structure and order. It is a pursuit of a kind of logic: a formal, sculptural logic and poetic logic. It is a conceptual and physical process of building and taking away at the same time. I set out to strip the ideas and associations down to (physically and metaphorically) just the bones, exposing the life still held inside. While Oliver was reluctant to discuss meaning in her works, critics have identified recurring themes. Hannah Fink, like art critic John McDonald, noted that there is a pattern to the shapes and structures in Oliver's work. Fink described this as "a consistent vocabulary of elemental forms the spiral, meander, loop and sphere in a repertoire of signature archetypes". McDonald said that Nature is "omnipresent" and referred to them as organisms or their remains.Despite their organic appearance, Oliver's own view was that her work was not grounded in nature's structures. Nevertheless, critics have identified the lifelike qualities of early pieces that resembled shells, claws or tails, or noted the apparent similarities to biological forms. McDonald commented that "For Oliver to deny nature is akin to Balthus saying there is nothing erotic about his paintings or Rothko claiming his works aren't abstract." Both major reviews of Oliver's work (Fenner's 1995 essay and Fink's 2002 journal article) draw attention to dualism and contradiction in the sculptures: Fenner describes them as "delicate and ephemeral, [yet] structurally robust and durable"; Fink sees them as "ethereal but solid, fluid yet rigid, open but closed".Oliver's sculptures are admired for their tactile nature, their aesthetics, and the technical skills demonstrated in their production. Particular works have been singled out for praise. A writer reviewing Vine in the Sydney Hilton admired how it "curls like a fairy...
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The answer is:
Vine