What was the name of the piece that Etty considered to be his best work? Answer the above question based on the context below: Possibly because of its size, The Sirens and Ulysses failed to sell at the 1837 Summer Exhibition. In October 1837 wealthy Manchester cotton merchant Daniel Grant, an admirer of Etty who had already commissioned Venus and her Doves from him, met Etty at Heaton Park races and offered to buy The Sirens and Ulysses and Etty's smaller Samson Betrayed by Delilah unseen for a total of 200. Etty was hoping for 400 for the two paintings, but on being told by Grant that his firm had lost 100,000 that year offered a price of 300 for the pair. Grant counter-offered 250 (about 22,000 in today's terms), which Etty refused. On leaving at the end of the evening, Grant suddenly said, "Will you take the money?", startling Etty, who in his surprise agreed. Grant died shortly afterwards, leaving the painting to his brother William, who in turn gave it to the Royal Manchester Institution in 1839.Etty considered the painting to be his best work, insisting that it form the centrepiece of his 1849 Royal Society of Arts solo exhibition. The Royal Manchester Institution was concerned that the painting would be damaged if moved, refusing to allow it to be used in the exhibition until Etty, and a number of influential friends, visited Manchester to beg them to release it. Etty died later that year, and his work enjoyed a brief boom in popularity. Interest in him declined over time, and by the end of the 19th century the cost of all his paintings had fallen below their original prices. As it was rarely exhibited, The Sirens and Ulysses had little influence on later artists, although it is credited as an influence on Frederic Leighton's 1858 The Fisherman and the Syren. Ulysses and the Sirens is one of those great efforts of my Art achieved in the vigour of my life, I can never make again.
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Answer: The Sirens and Ulysses
Q: What is the full name of the person who is thought to not stand a chance with the popular cheerleader? Answer the above question based on the context below: Percy Caldwell is a teenage boy who lives in Pine Bluffs, California. He is in love with Madison, his high school's most popular cheerleader, but his best friend Leonard doesn't think he stands a chance. One day, after Percy rescues Madison from two local bullies, brothers named Cletis and Devlin, the brothers knock his bicycle off the road with their truck, and Percy ends up crashing in the woods, falling unconscious. When Percy wakes up, he sees a seven-foot-tall Bigfoot standing over him. Percy is initially scared, but the creature seems friendly and interacts with him. Then, Percy rushes home where he tells his parents but they do not believe him. The next day, Madison thanks Percy for saving her from the bullies; giving him a kiss and declaring him her boyfriend. After school, Percy goes to see the Sasquatch in the woods and they share a picnic. Cletis and Devlin, who are going bear hunting, hear the Sasquatch burp from a distance and mistake him for a Grizzly bear.Percy hears the hunters and tells the Sasquatch to flee. When the brothers find Percy they threaten him, and Bigfoot comes to Percy's rescue; throwing the brothers down a hill. After that, the brothers start planning to catch the creature to sell for big money. The next morning Percy goes back into the woods for another picnic with Bigfoot. When he gets home, Madison arrives. While they are watching King Kong, Percy tells Madison about his encounters with the Sasquatch but she doesn't believe him and begins to have doubts about him. Meanwhile, Cletis and Devlin are building a cage for the Sasquatch in their barn. The following day, Percy tells Madison and Leonard to follow him to go see the Sasquatch, but Madison then decides that their relationship is over and she leaves. Leonard, however, agrees to go with him.
A: Percy Caldwell
What is the first name of the person who had a jewel-studded crown? Answer the above question based on the context below: Van Eyck gives Mary three roles: Mother of Christ, the personification of the "Ecclesia Triumphans" and Queen of Heaven, the latter apparent from her jewel-studded crown. The painting's near miniature size contrasts with Mary's unrealistically large stature compared with her setting. She physically dominates the cathedral; her head is almost level with the approximately sixty feet high gallery. This distortion of scale is found in a number of other van Eyck's Madonna paintings, where the arches of the mostly gothic interior do not allow headroom for the virgin. Pacht describes the interior as a "throne room", which envelopes her as if a "carrying case". Her monumental stature reflects a tradition reaching back to an Italo-Byzantine type perhaps best known through Giotto's Ognissanti Madonna (c. 1310) and emphasises her identification with the cathedral itself. Till-Holger Borchert says that van Eyck did not paint her as "the Madonna in a church", but instead as metaphor, presenting Mary "as the Church". This idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941. Art historians in the 19th century, who thought the work was executed early in van Eyck's career, attributed her scale as the mistake of a relatively immature painter.The composition is today seen as deliberate, and opposite to both his Madonna of Chancellor Rolin and Arnolfini Portrait. These works show interiors seemingly too small to contain the figures, a device van Eyck used to create and emphasise an intimate space shared by donor and saint. The Virgin's height recalls his Annunciation of 143436, although in that composition there are no architectural fittings to give a clear scale to the building. Perhaps reflecting the view of a "relatively immature painter", a copy of the Annunciation by Joos van Cleve shows Mary at a more realistic proportion scale to her surroundings.Mary is presented as a Marian apparition; in this case she probably appears before a donor, who would have been kneeling...
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Answer:
Mary