Problem: The following article contains an answer for the question: What was the last name of the photographer who took photograph of Dylan and Rotolo on February 1963? , can you please find it? The album cover features a photograph of Dylan with Suze Rotolo. It was taken in February 1963a few weeks after Rotolo had returned from Italyby CBS staff photographer Don Hunstein at the corner of Jones Street and West 4th Street in the West Village, New York City, close to the apartment where the couple lived at the time. In 2008, Rotolo described the circumstances surrounding the famous photo to The New York Times: "He wore a very thin jacket, because image was all. Our apartment was always cold, so I had a sweater on, plus I borrowed one of his big, bulky sweaters. On top of that I put on a coat. So I felt like an Italian sausage. Every time I look at that picture, I think I look fat." In her memoir, A Freewheelin' Time, Rotolo analyzed the significance of the cover art: It is one of those cultural markers that influenced the look of album covers precisely because of its casual down-home spontaneity and sensibility. Most album covers were carefully staged and controlled, to terrific effect on the Blue Note jazz album covers ... and to not-so great-effect on the perfectly posed and clean-cut pop and folk albums. Whoever was responsible for choosing that particular photograph for The Freewheelin' Bob Dylan really had an eye for a new look. Critic Janet Maslin summed up the iconic impact of the cover as "a photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging".The cover photo is recreated in the 2001 Tom Cruise film Vanilla Sky.

A: Hunstein

Problem: The following article contains an answer for the question: What was the first name of the person who passed a painting to their niece Marie-Louise-Sophie Bertin? , can you please find it? Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Felix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Theophile Silvestre's description of Ingres;...

A: Louise

Problem: The following article contains an answer for the question: What is the last name of the person who had a small studio built into the grounds? , can you please find it? Fuller's time at Adyar was eventful. Leadbeater arrived around the same time as Fuller, and soon afterward he "discovered" the person he believed would become a global teacher and orator, Jiddu Krishnamurti (then in his teens). Leadbetter and others tutored Krishnamurti. Fuller may have taught him photography. She also had a small studio built in the grounds, and painted. Her works from the period include a portrait of Leadbeater and Portrait of the Lord Buddha. McFarlane emphasises the significance of the latter work, pointing out that it is "strikingly modern" in comparison to all of Fuller's other work, and more radical than compositions created by Grace Cossington Smith and Roland Wakelin, half a decade later. The painting owes much to theosophy's emphasis on seeing the subject "through a psychic, visionary experience". Sources describing Fuller's movements after her time in India sometimes are ambiguous. She arrived in England in June 1911, where she marched with Besant in the suffragette protests associated with the coronation of George V. She continued to paint portraits, but found it difficult to realise the transformation in her art that she had conceptualised in India:I have painted a great many portraits since I have been in England, and have been, I suppose, fairly successfulthough I have done nothing in any way remarkable. The hidden inner life has not yet succeeded in expressing itself on canvas, and I can only write myself as one who aspires to a greater art, but who has not yet achieved.

A: Fuller

Problem: The following article contains an answer for the question: What is the name of the character who does not want to discuss his childhood with Maureen Brennan? , can you please find it? A biracial 17-year-old boy named America, who has experienced a difficult life of foster care and sexual abuse, undergoes counseling with psychiatrist Maureen Brennan to help him come to terms with his painful past of childhood trauma, including growing up with (and abandoned by) a crack-addicted mother and being shuffled through a series of foster homes including the Harpers (with Mrs. Harper played by Ruby Dee and Reggie Harper by Tim Rhoze). The film starts with Maureen Brennan at a group home where she is giving a small introduction about the outlook for most of the group home children's futures (most would most likely end up either living on the streets, in jail, or dead). A young America, emotionally vacant and suicidal, comes to the attention of Brennan. When she (Dr. B) tries to talk to America, he refuses to give her any answers about his childhood. Eventually Dr. B helps him understand his troubled past in order to find the courage to move on and survive. Helps him to forgive and forget, in order to be able to move forward in life.

A:
America