Q: Given the following context: In Osbert: A Portrait of Osbert Lancaster, Boston comments that after the dramatic events in Athens his subject's later life was uneventful and industrious with "a somewhat dismaying dearth of rows, intrigues, scandals or scrapes to report." The Lancasters had a Georgian house in Henley-on-Thames, and a flat in Chelsea, where they lived from Mondays to Fridays. He worked at home in the mornings, on illustrations, stage designs, book reviews and any other commissions, before joining his wife for a midday dry martini and finally dressing and going to one of his clubs for lunch. After that he would walk to the Express building in Fleet Street at about four in the afternoon. There he would gossip with his colleagues before sitting at his desk smoking furiously, producing the next day's pocket cartoon. By about half-past six he would have presented the cartoon to the editor and be ready for a drink at El Vino's across the road, and then the evening's social events.Karen Lancaster died in 1964. They were markedly different in character, she quiet and home-loving, he extrovert and gregarious, but they were devoted to each other, and her death left him devastated. Three years later he married the journalist Anne Scott-James; they had known each other for many years, although at first she did not much like him, finding him "stagey" and "supercilious". By the 1960s they had become good friends, and after Karen died the widowed Lancaster and the divorced Scott-James spent increasing amounts of time together. Their wedding was at the Chelsea Register Office on 2 January 1967. After their marriage they kept his Chelsea flat, and lived at weekends in her house in the Berkshire village of Aldworth, the house in Henley having been sold. answer the following question: What is the last name of the person who would walk to the Express building in Fleet Street at about four in the afternoon?
A: Lancaster

Question: Given the following context: The year 1960 marked another turning point in Shostakovich's life: he joined the Communist Party. The government wanted to appoint him General Secretary of the Composers' Union, but in order to hold that position he was required to attain Party membership. It was understood that Nikita Khrushchev, the First Secretary of the Communist Party from 1953 to 1964, was looking for support from the leading ranks of the intelligentsia in an effort to create a better relationship with the Soviet Union's artists. This event has been interpreted variously as a show of commitment, a mark of cowardice, the result of political pressure, or his free decision. On the one hand, the apparat was undoubtedly less repressive than it had been before Stalin's death. On the other, his son recalled that the event reduced Shostakovich to tears, and he later told his wife Irina that he had been blackmailed. Lev Lebedinsky has said that the composer was suicidal. From 1962, he served as a delegate in the Supreme Soviet of the USSR. Once he joined the Party, several articles he did not write denouncing individualism in music were published in Pravda under his name. In joining the party, Shostakovich was also committing himself to finally writing the homage to Lenin that he had promised before. His Twelfth Symphony, which portrays the Bolshevik Revolution and was completed in 1961, was dedicated to Vladimir Lenin and called "The Year 1917." Around this time, his health began to deteriorate. Shostakovich's musical response to these personal crises was the Eighth String Quartet, composed in only three days. He subtitled the piece "To the victims of fascism and war", ostensibly in memory of the Dresden fire bombing that took place in 1945. Yet, like the Tenth Symphony, this quartet incorporates quotations from several of his past works and his musical monogram. Shostakovich confessed to his friend Isaak Glikman, "I started thinking that if some day I die, nobody is likely to write a work in memory of me, so I had better write one myself."... answer the following question: What is the last name of the person who made his only venture into conducting in November, conducting a couple of his own works in Gorky?
Answer: Shostakovich

[Q]: Given the following context: Bacon's output is characterised by sequences of images. He told Sylvester that his imagination was stimulated by sequences and that "images breed other images in me". His series were not always planned or painted in sequence; sometimes paintings are grouped for convenience but vary in execution and tone. The idea for the head series came after he returned penniless, late in 1948, from a stay in Tangier. In the previous three years he had been unable to find a voice; the last surviving canvas from this period is his Painting (1946). Although he continued to paint, he was a ruthless self-critic, given to slashing canvases with blades, and no works survive from between 1947 and the winter of 1948. Gallerist Erica Brausen offered Bacon the opportunity of a solo show for the opening of her new Hanover Gallery. He agreed, but had nothing in reserve to hang. In following years, Brausen became perhaps the most important of Bacon's early champions; she arranged this showinghis debut solo exhibitionpublicised him widely and organised viewings for international buyers.Already 40 years old, Bacon viewed the exhibition as his last chance and applied himself to the task with determination. Because he had destroyed all his output of the last three years, he had little choice but to present new works. He did not have a grand plan when he agreed to the show, but eventually found themes that interested him in his Head I of the previous year, and executed five progressively stronger variants in the final weeks before the November exhibition, completing the series barely in time for the opening. answer the following question: What is the name of the person who was publicized widely by his early champion and for whom viewings to include international buyers were organized?
****
[A]: Bacon

Question: Given the following context: Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in 1810. Yet in 1816, he sought to distance himself from Prussian authority and applied that June for Saxon citizenship. The move was not expected; the Saxon government was pro-French, while Friedrich's paintings were seen as generally patriotic and distinctly anti-French. Nevertheless, with the aid of his Dresden-based friend Graf Vitzthum von Eckstadt, Friedrich attained citizenship, and in 1818, membership in the Saxon Academy with a yearly dividend of 150 thalers. Although he had hoped to receive a full professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students." Politics too may have played a role in stalling his career: Friedrich's decidedly Germanic subjects and costuming frequently clashed with the era's prevailing pro-French attitudes. answer the following question: What academy was the painter trying to distance himself from when he applied for a membership at a different academy in 1816?
Answer:
Berlin Academy