[Q]: Read the following paragraph and extract the answer for the question: What is the last name of the artist that was an influence on the painter who painted "The Jack Pine"? Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay: One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful." The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c.181011) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified...
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[A]: MacDonald

[Q]: Read the following paragraph and extract the answer for the question: Which ores are of high quality but prohibitively costly to extract? The seabed contains enormous reserves of minerals which can be exploited by dredging. This has advantages over land-based mining in that equipment can be built at specialised shipyards and infrastructure costs are lower. Disadvantages include problems caused by waves and tides, the tendency for excavations to silt up and the washing away of spoil heaps. There is a risk of coastal erosion and environmental damage. Seafloor massive sulphide deposits are potential sources of silver, gold, copper, lead and zinc and trace metals since their discovery in the 1960s. They form when geothermally heated water is emitted from deep sea hydrothermal vents known as "black smokers". The ores are of high quality but prohibitively costly to extract. Small scale mining of the deep sea floor is being developed off the coast of Papua New Guinea using robotic techniques, but the obstacles are formidable.There are large deposits of petroleum, as oil and natural gas, in rocks beneath the seabed. Offshore platforms and drilling rigs extract the oil or gas and store it for transport to land. Offshore oil and gas production can be difficult due to the remote, harsh environment. Drilling for oil in the sea has environmental impacts. Animals may be disorientated by seismic waves used to locate deposits, probably causing the beaching of whales. Toxic substances such as mercury, lead and arsenic may be released. The infrastructure may cause damage, and oil may be spilt.Large quantities of methane clathrate exist on the seabed and in ocean sediment at a temperature of around 2 C (36 F) and these are of interest as a potential energy source. Some estimates put the amount available at between one and 5 million cubic kilometres (0.24 to 1.2 million cubic miles). Also on the seabed are manganese nodules formed of layers of iron, manganese and other hydroxides around a core. In the Pacific these may cover up to 30 percent of the deep ocean floor. The minerals precipitate from seawater and grow very slowly. Their commercial extraction for...
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[A]: gold

[Q]: Read the following paragraph and extract the answer for the question: What is the last name of the person that played snare drums on the song that sets the somber tone that runs through the album it is on? "Rainy Day Women #12 & 35"According to author Andy Gill, by starting his new album with what sounded like "a demented marching-band ... staffed by crazy people out of their mind on loco-weed", Dylan delivered his biggest shock yet for his former folkie fans. The elaborate puns on getting stoned combine a sense of paranoiac persecution with "nudge-nudge wink-wink bohemian hedonism". Heylin points out that the Old Testament connotations of getting stoned made the Salvation Army-style musical backing seem like a good joke. The enigmatic title came about, Heylin suggests, because Dylan knew a song entitled "everybody must get stoned" would be kept off the airwaves. Heylin links the title to the Book of Proverbs, chapter 27, verse 15: "A continual dropping in a very rainy day and a contentious woman are alike." Released as a single on March 22, 1966, "Rainy Day Women" reached number two on the Billboard singles chart, and number seven in the UK. "Pledging My Time"Following the good-time fun of "Rainy Day Women #12 & 35", the Chicago blues-influenced "Pledging My Time" sets the somber tone that runs through the album. It draws on several traditional blues songs, including Elmore James' recording of "It Hurts Me Too". For critic Michael Gray, the lines "Somebody got lucky but it was an accident" echo the lines "Some joker got lucky, stole her back again" from Robert Johnson's "Come On in My Kitchen", which is itself an echo of the Skip James 1931 recording "Devil Got My Woman". Gray suggests that "the gulping movements of the melodic phrases" derive from the melody of "Sitting on Top of the World", recorded by the Mississippi Sheiks in 1930. The couplet at the end of each verse expresses the theme: a pledge made to a prospective lover in hopes she "will come through, too". Besides Dylan's vocals and improvised harmonica breaks, the song's sound is defined by Robbie Robertson's guitar, Hargus "Pig" Robbins's blues piano and Ken Buttrey's snare drum rolls. The song was released in edited form as the B-side of "Rainy...
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[A]:
Buttrey