Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the full name of the artist whose 1888 oil painting drew heavily from a photograph by an artist who offered amateur photographers his darkroom? Farsari and other 19th-century commercial photographers generally concentrated on two types of subject matter: the scenery of Japan and the "manners and customs" of its inhabitants. Such subjects, and the ways in which they were literally and figuratively framed, were chosen to appeal to foreign taste; and the reason for this, apart from the photographer's individual aesthetics, vision and preconceptions, had much to do with economics. Photographs were expensive to make and accordingly expensive to buy. In 1870s Japan, a portrait photograph usually cost half a ryo "per head", about a month's pay for an artisan. Given such pricing, few Japanese could afford photographs and a photographer's clientele was largely drawn from the foreign residents of the European and American enclaves: colonial administrators, missionaries, merchants and the military. By the early 1870s, tourists had joined their number. To appeal to this clientele, photographers often staged and contrived the scenes they photographed, particularly the portraits depicting "manners and customs".In 1885, Charles J. S. Makin used some of Farsari's views to illustrate his travel account Land of the Rising Sun, Being a Short Account of Japan and the Japanese. As photomechanical printing was still in its infancy, it was common for artists and illustrators to create works derived from photographs. For example, Charles Wirgman's numerous engravings for the Illustrated London News were made from views by Wirgman's friend and sometime partner Felice Beato. Occasionally the link between a work of art and its photographic source material was less overt: Louis-Jules Dumoulin's 1888 oil painting Boys' Festival from the Bluff, Yokohama [sic] (now called Carp Banners in Kyoto) draws heavily from Farsari's photograph Gionmachi, Kioto (now often called View of Shijo-dori, Kyoto); although the painted image strongly resembles the photographic source, the location of the subject has been changed in the title. During the era of the collodion process, before the...
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The answer is:
Louis-Jules Dumoulin

Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the name of the person the army paid three kroner and 45 re and a loaf of bread every five days for two and a half years? Nielsen was born the seventh of twelve children to a poor peasant family on 9 June 1865 at Sortelung near Nrre Lyndelse, south of Odense on the island of Funen. His father, Niels Jrgensen, was a house painter and traditional musician who, with his abilities as a fiddler and cornet player, was in strong demand for local celebrations. Nielsen described his childhood in his autobiography Min Fynske Barndom (My Childhood on Funen). His mother, whom he recalls singing folk songs during his childhood, came from a well-to-do family of sea captains while one of his half-uncles, Hans Andersen (18371881), was a talented musician.Nielsen gave an account of his introduction to music: "I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin". He had received the instrument from his mother when he was six. He learned the violin and piano as a child and wrote his earliest compositions at the age of eight or nine: a lullaby, now lost, and a polka which the composer mentioned in his autobiography. As his parents did not believe he had any future as a musician, they apprenticed him to a shopkeeper from a nearby village when he was fourteen; the shopkeeper went bankrupt by midsummer and Nielsen had to return home. After learning to play brass instruments, on 1 November 1879 he became a bugler and alto trombonist in the band of the army's 16th Battalion at nearby Odense.Nielsen did not give up the violin during his time with the battalion, continuing to play it when he went home to perform at dances with his father. The army paid him three kroner and 45 re and a loaf of bread every five days for two and a half years, after which his salary was raised slightly, enabling him to buy the civilian clothes he needed to perform at barn dances.
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The answer is:
Nielsen

Problem: Given the question: Read the following paragraph and extract the answer for the question: What is the first name of the person who identifies many of the individuals portrayed in the procession? The painting known as Queen Elizabeth going in procession to Blackfriars in 1601, or simply The Procession Picture (see illustration), is now often accepted as the work of Peake. The attribution was made by Roy Strong, who called it "one of the great visual mysteries of the Elizabethan age". It is an example of the convention, prevalent in the later part of her reign, of painting Elizabeth as an icon, portraying her as much younger and more triumphant than she was. As Strong puts it, "[t]his is Gloriana in her sunset glory, the mistress of the set piece, of the calculated spectacular presentation of herself to her adoring subjects". George Vertue, the eighteenth-century antiquarian, called the painting "not well nor ill done".Strong reveals that the procession was connected to the marriage of Henry Somerset, Lord Herbert, and Lady Anne Russell, one of the queen's six maids of honour, on 16 June 1600. He identifies many of the individuals portrayed in the procession and shows that instead of a litter, as was previously assumed, Queen Elizabeth is sitting on a wheeled cart or chariot. Strong also suggests that the landscape and castles in the background are not intended to be realistic. In accordance with Elizabethan stylistic conventions, they are emblematic, here representing the Welsh properties of Edward Somerset, Earl of Worcester, to which his son Lord Herbert was the heir. The earl may have commissioned the picture to celebrate his appointment as Master of the Queen's Horse in 1601.Peake clearly did not paint the queen, or indeed the courtiers, from life but from the "types" or standard portraits used by the workshops of the day. Portraits of the queen were subject to restrictions, and from about 1594 there seems to have been an official policy that she always be depicted as youthful. In 1594, the Privy council ordered that unseemly portraits of the queen be found and destroyed, since they caused Elizabeth "great offence". The famous Ditchley portrait (c. 1592), by Marcus Gheeraerts the Younger, was...
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The answer is:
Roy