Background: Hans Holbein the Younger (German: Hans Holbein der Jungere) (c. 1497 - between 7 October and 29 November 1543) was a German artist and printmaker who worked in a Northern Renaissance style. He is best known as one of the greatest portraitists of the 16th century. He also produced religious art, satire and Reformation propaganda, and made a significant contribution to the history of book design.
Context: On 29 August 1528, Holbein bought a house in Basel, in St Johanns-Vorstadt. He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence. Enriched by his success in England, Holbein bought a second house in the city in 1531. During this period in Basel, he painted The Artist's Family, showing Elsbeth, with the couple's two eldest children, Philipp and Katherina, evoking images of the Virgin and Child with St John the Baptist. Art historian John Rowlands sees this work as "one of the most moving portraits in art, from an artist, too, who always characterized his sitters with a guarded restraint". Basel had become a turbulent city in Holbein's absence. Reformers, swayed by the ideas of Zwingli, carried out acts of iconoclasm and banned imagery in churches. In April 1529, the free-thinking Erasmus felt obliged to leave his former haven for Freiburg im Breisgau. The iconoclasts probably destroyed some of Holbein's religious artwork, but details are unknown. Evidence for Holbein's religious views is fragmentary and inconclusive. "The religious side of his paintings had always been ambiguous," suggests art historian John North, "and so it remained". According to a register compiled to ensure that all major citizens subscribed to the new doctrines: "Master Hans Holbein, the painter, says that we must be better informed about the [holy] table before approaching it". In 1530, the authorities called Holbein to account for failing to attend the reformed communion. Shortly afterwards, however, he was listed among those "who have no serious objections and wish to go along with other Christians". Holbein evidently retained favour under the new order. The reformist council paid him a retaining fee of 50 florins and commissioned him to resume work on the Council Chamber frescoes. They now chose themes from the Old Testament instead of the previous stories from classical history and allegory. Holbein's frescoes of Rehoboam and of the meeting between Saul and Samuel were more simply designed than their predecessors. Holbein worked for traditional clients at the same time. His old patron Jakob Meyer paid him to add figures and details to the family altarpiece he had painted in 1526. Holbein's last commission in this period was the decoration of two clock faces on the city gate in 1531. The reduced levels of patronage in Basel may have prompted his decision to return to England early in 1532.
Question: What did he use the house for?
Answer: He presumably returned home to preserve his citizenship, since he had been granted only a two-year leave of absence.

Problem: Background: Thomas Cowperthwait Eakins (July 25, 1844 - June 25, 1916) was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history. For the length of his professional career, from the early 1870s until his health began to fail some 40 years later, Eakins worked exactingly from life, choosing as his subject the people of his hometown of Philadelphia. He painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy.
Context: Eakins has been credited with having "introduced the camera to the American art studio". During his study abroad, he was exposed to the use of photography by the French realists, though the use of photography was still frowned upon as a shortcut by traditionalists. In the late 1870s, Eakins was introduced to the photographic motion studies of Eadweard Muybridge, particularly the equine studies, and became interested in using the camera to study sequential movement. In the mid-1880s, Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia. Eakins soon performed his own independent motion studies, also usually involving the nude figure, and even developed his own technique for capturing movement on film. Whereas Muybridge's system relied on a series of cameras triggered to produce a sequence of individual photographs, Eakins preferred to use a single camera to produce a series of exposures superimposed on one negative. Eakins was more interested in precision measurements on a single image to aid in translating a motion into a painting, while Muybridge preferred separate images that could also be displayed by his primitive movie projector. After Eakins obtained a camera in 1880, several paintings, such as Mending the Net (1881) and Arcadia (1883), are known to have been derived at least in part from his photographs. Some figures appear to be detailed transcriptions and tracings from the photographs by some device like a magic lantern, which Eakins then took pains to cover up with oil paint. Eakins' methods appear to be meticulously applied, and rather than shortcuts, were likely used in a quest for accuracy and realism. An excellent example of Eakins' use of this new technology is his painting A May Morning in the Park, which relied heavily on photographic motion studies to depict the true gait of the four horses pulling the coach of patron Fairman Rogers. But in typical fashion, Eakins also employed wax figures and oil sketches to get the final effect he desired. The so-called "Naked Series", which began in 1883, were nude photos of students and professional models which were taken to show real human anatomy from several specific angles, and were often hung and displayed for study at the school. Later, less regimented poses were taken indoors and out, of men, women, and children, including his wife. The most provocative, and the only ones combining males and females, were nude photos of Eakins and a female model (see below). Although witnesses and chaperones were usually on site, and the poses were mostly traditional in nature, the sheer quantity of the photos and Eakins' overt display of them may have undermined his standing at the Academy. In all, about eight hundred photographs are now attributed to Eakins and his circle, most of which are figure studies, both clothed and nude, and portraits. No other American artist of his time matched Eakins' interest in photography, nor produced a comparable body of photographic works.
Question: Is there anything else of note about his affiliation with the University of Pennsylvania in Philadelphia?
Answer:
Eakins worked briefly alongside Muybridge in the latter's photographic studio at the University of Pennsylvania in Philadelphia.