In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.
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Question: Passage: Most historians describe the contacts between the Mongol Empire and the Western Europeans as a series of attempts, missed opportunities, and failed negotiations. Christopher Atwood, in the 2004 Encyclopedia of Mongolia and the Mongol Empire, summed up the relations between Western Europe and the Mongols: "Despite numerous envoys and the obvious logic of an alliance against mutual enemies, the papacy and the Crusaders never achieved the often-proposed alliance against Islam."A few other historians argue there was an actual alliance, but do not agree on the details: Jean Richard wrote that an alliance began around 1263. Reuven Amitai stated that the closest thing to actual Mongol-Frankish military coordination was when Prince Edward of England attempted to coordinate activities with Abaga in 1271. Amitai also mentioned the other attempts towards cooperation, but said, "In none of these episodes, however, can we speak of Mongols and troops from the Frankish West being on the Syrian mainland at the same time." Timothy May described the alliance as having its peak at the Council of Lyon in 1274, but that it began to unravel in 1275 with the death of Bohemond, and May too admitted that the forces never engaged in joint operations. Alain Demurger, in his own book The Last Templar, said that an alliance was not sealed until 1300.There also continues to be debate about whether or not an alliance would have been a wise idea, and whether the Crusaders at that point in history were even relevant to the Persian-Mongol conflict. The 20th-century historian Glenn Burger said, "The refusal of the Latin Christian states in the area to follow Hethum's example and adapt to changing conditions by allying themselves with the new Mongol empire must stand as one of the saddest of the many failures of Outremer." This was similar to the view of Steven Runciman, who argued, "Had the Mongol alliance been achieved and honestly implemented by the West, the existence of Outremer would almost certainly have been prolonged. The Mameluks would have been crippled if not destroyed; and the Ilkhanate of Persia would have survived as a power friendly to the Christians and the West". However, David Nicolle, describing the Mongols as "potential allies", said that early historians were writing from the benefit of hindsight, and that overall the major players were the Mamluks and the Mongols, with Christians just "pawns in a greater game.".
Question: Who did Jean Richard claim had an alliance around 1263?

Answer: Mongol Empire.

Question: Passage: Oviri (Tahitian for savage or wild) is an 1894 ceramic sculpture by the French artist Paul Gauguin. In Tahitian mythology, Oviri was the goddess of mourning. She is shown with long pale hair, and wild eyes, smothering a wolf with her feet, while clutching a cub in her arms. Art historians have presented multiple interpretationsusually that Gauguin intended it as an epithet to reinforce his self-image as a "civilised savage". Tahitian goddesses of her era had passed from folk memory by 1894, yet Gauguin romanticises the island's past as he reaches towards more ancient sources, including an Assyrian relief of a "master of animals" type, and Majapahit mummies. Other possible influences include preserved skulls from the Marquesas Islands, figures found at Borobudur, and a 9th-century Mahayana Buddhist temple in central Java.
Gauguin made three casts, each in partially glazed stoneware, and while several copies exist in plaster or bronze, the original cast is in the Musee d'Orsay. His sales of the casts were not successful, and at a low financial and personal ebb he asked for one to be placed on his grave. There are only three other surviving comments of his on the figure: he described the figure as a strange and cruel enigma on an 1895 presentation mount of two impressions of a woodcut of Oviri for Stephane Mallarme; he referred to it as La Tueuse ("The Murderess") in an 1897 letter to Ambroise Vollard; and he appended an inscription referencing Honore de Balzac's novel Seraphita in a c.1899 drawing. Oviri was exhibited at the 1906 Salon d'Automne (no. 57) where it influenced Pablo Picasso, who based one of the figures in Les Demoiselles d'Avignon on it.
Question: What is the first name of the person who romanticises the island's past as he reaches towards more ancient sources?

Answer: Paul.

Question: Passage: For combination of grace, dramatic strength, and clearness in technique this picture would be difficult to surpass. There is nothing finicky about it; it tells its story with vivid directness. As a background to the figure Mrs. Rix Nicholas has set a piece of antique tapestry, so that the trees on either side lean in arch-wise over the head, the face and shoulders stand out clearly against an expanse of sky, and behind the body and limbs extends a countryside full of towers and rivers and trees. The quaint conventionality of this background accords exactly with the late eighteenth-century costume, all sprigged with roses and heliotrope; and the whole mass of detail harmonies [sic] perfectly with the type of the model's face. It is a cold, selfish face. The artist has brought out with revealing strokes an expression of vindictive malice which is for the moment resting there; and the hands, the fingers of one grasped tightly by the other, give a clear indication of nervous tension within. The treatment of flesh tones and the general arrangement, drawing attention gently but not too obtrusively to the columbines scattered on the polished floorthose are excellent.
While she exhibited many of the Australian works completed before arriving in France, she was also creating many new works, including illustrations and portraits of traditional life and costume, produced during a summer in Brittany. In 1926, Rix Nicholas was again included in London's Royal Academy of Art exhibition, where one of her Brittany paintings, Le Bigouden, was hung. She also appeared at the Societe Nationale des Beaux-Arts Spring exhibition in Paris, in which she had eight works, a very large number for a single artist. The Societe not only hung many of her paintings and drawings: she was also elected an Associate to the organisation in that year.At the end of 1926, Rix Nicholas and Dorothy Richmond together returned to Australia. Energised by her success, Rix Nicholas purchased a car, filled its rear compartment with painting equipment, and the pair set out to paint the landscape, ranging from Canberra and the Monaro plains to the south, up into central Queensland. This included a publicity-attracting occasion where she painted figures on the beach at Bondi, reported by various publications including Australian magazine, The Home.
Question: What is the full name of the organization to which Rix Nicholas was also elected an Associate?

Answer:
Societe Nationale des Beaux-Arts.