Question: Read the following paragraph and extract the answer for the question: What painting has a late 20-centrury restoration? The panel is one of the earliest known northern European sacra conversazione (the Virgin and Child shown with a group of saints in a relatively informal grouping) paintings. The Virgin sits on an elevated throne, situated beneath a minutely detailed and extravagantly decorated brocade baldachin containing white rose patterns, symbolising her purity. Given the church setting, Mary occupies the area where the altarpiece would usually be. The steps leading to the throne are covered with an oriental carpet. Her idealised facial type (and that of St. George) is very similar to the Virgin in van Eyck's Washington Annunciation.Although the Madonna's throne is in the mid-ground, her head is level with the standing figures in the foreground, who are closer in perspective. The apse in which she sits adds to the illusion of depth and is an expanded area for her throne. A similar approach can be seen in the later Dresden Triptych, but that work contains a better handling of spatial depth; Mary's throne is moved back, and the donors and saints are relegated to wing panels. The figures in Canon van der Paele are within a more confined space, are somewhat cramped, but far more monumental.The Child has curly blond hair and sits on a white cloth, animated and upright, at the side of the Virgin's lap. Like Mary, his body is shown frontally, his head in three quarters view. He reaches for what seems to be a parrot perched on her lap. At some point the Child's nudity was covered up; this overpaint was removed during a late 20th-century restoration. He is intended to represent both the host and Eucharist, common allusions in Early Netherlandish art and reflecting that the panel was intended for the celebration of mass.
Answer: Canon van der Paele
[Q]: Read the following paragraph and extract the answer for the question: What is the last name of the person whose last letters were written from a hospital? By 1957 Grainger's physical health had markedly declined, as had his powers of concentration. Nevertheless, he continued to visit Britain regularly; in May of that year he made his only television appearance, in a BBC "Concert Hour" programme when he played "Handel in the Strand" on the piano. Back home, after further surgery he recovered sufficiently to undertake a modest winter concerts season. On his 1958 visit to England he met Benjamin Britten, the two having previously maintained a mutually complimentary correspondence. He agreed to visit Britten's Aldeburgh Festival in 1959, but was prevented by illness. Sensing that death was drawing near, he made a new will, bequeathing his skeleton "for preservation and possible display in the Grainger Museum". This wish was not carried out.Through the winter of 195960 Grainger continued to perform his own music, often covering long distances by bus or train; he would not travel by air. On 29 April 1960 he gave his last public concert, at Dartmouth College in Hanover, New Hampshire, although by now his illness was affecting his concentration. On this occasion his morning recital went well, but his conducting in the afternoon was, in his own words, "a fiasco". Subsequently confined to his home, he continued to revise his music and arrange that of others; in August he informed Elsie that he was working on an adaptation of one of Cyril Scott's early songs. His last letters, written from hospital in December 1960 and January 1961, record attempts to work, despite failing eyesight and hallucinations: "I have been trying to write score for several days. But I have not succeeded yet."Grainger died in the White Plains hospital on 20 February 1961, at the age of 78. His body was flown to Adelaide where, on 2 March, he was buried in the Aldridge family vault in the West Terrace Cemetery, alongside Rose's ashes. Ella survived him by 18 years; in 1972, aged 83, she married a young archivist, Stewart Manville. She died at White Plains on 17 July 1979.
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[A]: Grainger
input: Please answer the following: Read the following paragraph and extract the answer for the question: What publication ranked the single that had to print an additional 6,000 copies in their ten best singles of the year? In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting The Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an acronym for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.During April 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In...
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output:
The New York Times