[Q]: A friend asked me to answer this question: What is the last name of the person who created the painting that Lismer claimed had a tree that "was a symbol of the Canadian character"?, using the article: 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..., what would be the answer ?
****
[A]: Thomson'

[Q]: A friend asked me to answer this question: What is the name of the specific gallery bracketed by the Chinese Luncheon Room and the Yellow Drawing Room, which are situated at each end?, using the article: Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up from parts of the Brighton Banqueting and Music Rooms with a large oriental chimney piece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimney piece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the great gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors, and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room obviously placed in the centre.The original early 19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle epoque cream and gold colour scheme.When paying a state visit to Britain, foreign heads of state..., what would be the answer ?
****
[A]: Principal Corridor

[Q]: A friend asked me to answer this question: What is the first name of the person who created over 1,000,000 square feet of new office space and managed nearly one fifth of the office space in the Loop by the end of the century?, using the article: The Monadnock was commissioned by Boston real estate developers Peter and Shepherd Brooks in the building boom following the Depression of 187379. The Brooks family, which had amassed a fortune in the shipping insurance business and had been investing in Chicago real estate since 1863, had retained Chicago property manager Owen F. Aldis to manage the construction of the seven-story Grannis Block on Dearborn Street in 1880. It was Aldis, one of two men Louis Sullivan credited with being "responsible for the modern office building", who convinced investors such as the Brooks brothers to build new skyscrapers in Chicago. By the end of the century, Aldis would create over 1,000,000 square feet (93,000 m2) of new office space and manage nearly one fifth of the office space in the Loop.Daniel Burnham and John Wellborn Root met as young draftsmen in the Chicago firm of Carter, Drake, and Wight in 1872 and left to form Burnham & Root the following year. At Aldis's urging, the Brooks brothers had retained the then-fledgling firm to design the Grannis Block, which was their first major commission. Burnham and Root would become the architects of choice for the Brooks family, for whom they would complete the first high-rise building in Chicago, the 10-story Montauk Building, in 1883, and the 11-story Rookery Building in 1888. The Great Chicago Fire of 1871 had destroyed a 4-mile (6.4 km) by 0.5-mile (0.80 km) swath of the city between the Chicago River and Lake Michigan, and subsequent commercial development expanded into the area far south of the main business district along the river that would come to be known as "the Loop". Between 1881 and 1885, Aldis bought a series of lots in the area on Peter Brooks' behalf, including a 70-by-200-foot (21 by 61 m) site on the corner of Jackson and Dearborn streets. The location was remote, yet attractive for several reasons. The construction of the Chicago Board of Trade Building in 1885 had made nearby LaSalle Street the city's prime financial district, driving up property..., what would be the answer ?
****
[A]:
Owen