input question: This article: In late 1833 Etty was commissioned by Williams-Wynn to paint a portrait of two of his seven children. Preparing for a Fancy Dress Ball depicts Williams-Wynn's daughters Charlotte and Mary, dressing up in lavish Italian-style costume. Although their dress is generally described as Italian, Dennis Farr's 1958 biography of Etty speculates that elements of the costumes were possibly intended to be Russian, based on Charlotte's headdress. The Italian-style clothing likely represents the high level of interest in Italian culture in early 19th-century England. The popularity of the style of music now known as bel canto, widely associated with Italy, was at its peak; likewise, the Italian plays of William Shakespeare had become extremely popular in the period. Etty, who had spent a good deal of time in Venice and other Italian cities, would have been very familiar with Italian clothing designs, and the costumes worn by the Williams-Wynn sisters closely resemble those of women in Venetian scenes painted by Etty, such as 1831's Window in Venice, During a Fiesta. As art historian Leonard Robinson points out, despite the title the sisters are not in fact shown preparing for the ball, but are fully dressed. The style of the work reflects that of Thomas Lawrence, who had been Etty's teacher in 180708, as well as that of Joshua Reynolds, of whom Etty was a great admirer and of whose works Etty had often made copies as an exercise. contains an answer for the question: What is the last name of the person who was to paint a portrait of children?, what is it ????
output answer: Etty

This article: By this time, Etty had developed a great admiration for the portrait painter Thomas Lawrence, and hoped to learn from him. Having arranged an introduction via Henry Fuseli, Etty's uncle William met with Lawrence and paid him 100 guineas (about 8,200 in 2019 terms) in return for his accepting the younger William as a private pupil for a year.Under this arrangement Etty did not receive formal tuition from Lawrence. Instead, Lawrence set aside a room in his attic for Etty to copy from his pictures, and agreed to answer questions when he was in a position to do so. Etty found the experience of copying Lawrence's work extremely frustrating, and in his own words "was ready to run away", but he persisted and eventually taught himself to copy Lawrence's work very closely. Although Etty found his year with Lawrence a frustrating experience, his development of the ability to copy other works served him in good stead in future when he came to copy elements from the Old Masters.Once he had completed his year with Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings, as well as undertaking commissions and doing occasional work for Lawrence to earn money. He was unsuccessful in all the Academy's competitions, and every painting he submitted for the Summer Exhibition was rejected.In 1809 Etty's uncle William, with whom he had been staying, died. He was forced into an inconvenient transient lifestyle, moving from lodging to lodging. Etty had been left a significant sum in his uncle's will, and his brother Walter now took over their uncle's position at Bodley, Etty and Bodley, giving Walter the means to support the younger William's work financially. In 1811 Etty's persistence paid off. Two of his paintings were accepted for the Telemachus Rescues Antiope from the Fury of the Wild Boar exhibition at the Royal Academy Summer Exhibition, and Sappho at the British Institution. The latter sold for the respectable sum of 25 guineas (about 1,800 in 2019 terms). Although from now on... contains an answer for the question: Whose painting Sappho was accepted for exhibition at the British Institution?, what is it ?
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Answer: Etty

Q: This article: Half-witted longtime friends Albert, Isaac, Mozart "Mo" (DJ Durano), Michaelangelo "Mike" (Martin Escudero) and Aristotle "Aris" (Marvin Agustin) were used to living moronic yet pretty normal and hassle-free lives until successful careerwoman Beckie Pamintuan accused them of killing her father and ruin everything for them. The Moron 5 are more than sure of their innocence but for the life of them, they can't find any single satisfactory argument on how to prove it especially when their opponent would do everything to punish them for whim. Spending three miserable years in prison trying different failed comedic attempts to get out, they finally figured a way to escape. They stalked Beckie and tried to understand why she's fighting so hard to have them imprisoned when it's clear as day that what happened three years ago was a nonsense frame-up. An opportunity came when Beckie's driver got fired for having an affair with her maid and Albert volunteered to apply to replace him. He infiltrated the Pamintuan Residence and together with his four crazily daft friends, they've gathered information about the curious family yet to them, it isn't making any sense at all especially Vecky's unexplained hatred to the five of them. Why is Beckie fighting so hard to have them suffer? The Moron 5 will try harder to know and hopefully understand what's really going on although little did they know that by doing so, everything that they hold dear might be at risk. contains an answer for the question: What is the full name of the person fighting hard to have the Moron 5 imprisoned?, what is it ?
A: Beckie Pamintuan

Problem: Given the question: This article: The architectural writer Geoffrey Tyack has written that Nuffield College was Oxford's "most important architectural project of the immediate post-war years". Opinions about the architecture merits of the college have varied, although most have been unfavourable. The authors of a 1961 booklet on the architecture of modern Oxford said that it was "Oxford's biggest monument to barren reaction". The Cotswold style was "taken absurdly out of context and mercilessly stretched", and did not "harmonise with the clumsy tower", whilst the spire "[perched] uneasily ... despite its elaborate base". An unnamed journalist wrote in The Times in 1959 that the main buildings of the quadrangles were "somewhat oddly wedded to small basins which irresistibly suggest a Lilliputian Versailles". The same writer said that the tower rose "Manhattan-wise for 10 storeys through the twentieth century, only to have a diminutive spire, escaped from the fifteenth, push through its top to steal the last laugh". Peter Sager, too, thought that the "high-rise library" could "easily stand on the Hudson". Sir Howard Colvin said that the "utilitarian function" of the tower "accorded ill with its original ornamental purpose", and that the architects had "failed to find a satisfactory solution" to the "repetitive uniformity of fenestration". Of the fleche, Colvin said that it "makes its contribution to the Oxford skyline without any overt reference to historical precedent". Geoffrey Tyack also disliked the tower, describing it as "an ungainly structure" that was "lit by a monotonous array of windows punched out of the wall surface"; however, he thought the hall was "an effective reinterpretation of the traditional collegiate pattern".The architectural historian Sir Nikolaus Pevsner compared the college unfavourably to the designs of the Danish architect Arne Jacobsen for St Catherine's College, Oxford, construction of which began in 1960 (the year that Nuffield College was completed): St Catherine's, in his view, was "the most perfect piece of... contains an answer for the question: What is the name of the person who said that the tower had something of the architect Edwin Lutyens' "felicitous manipulation of period details?, what is it ?
++++++++++++++++++++++++++++++++
The answer is:
Nikolaus Pevsner