input: Please answer the following: What is the answer for the question: What is the first name of the person whose design showed Hope upright and defiant in a prison cell, holding a flowering rod? from the following article ? Hope is traditionally considered by Christians as a theological virtue (a virtue associated with the grace of God, rather than with work or self-improvement). Since antiquity artistic representations of the personification depict her as a young woman, typically holding a flower or an anchor.During Watts's lifetime, European culture had begun to question the concept of hope. A new school of philosophy at the time, based on the thinking of Friedrich Nietzsche, saw hope as a negative attribute that encouraged humanity to expend their energies on futile efforts. The Long Depression of the 1870s wrecked both the economy and confidence of Britain, and Watts felt that the encroaching mechanisation of daily life, and the importance of material prosperity to Britain's increasingly dominant middle class, were making modern life increasingly soulless. In late 1885 Watts's adopted daughter Blanche Clogstoun had just lost her infant daughter Isabel to illness, and Watts wrote to a friend that "I see nothing but uncertainty, contention, conflict, beliefs unsettled and nothing established in place of them." Watts set out to reimagine the depiction of Hope in a society in which economic decline and environmental deterioration were increasingly leading people to question the notion of progress and the existence of God.Other artists of the period had already begun to experiment with alternative methods of depicting Hope in art. Some, such as the upcoming young painter Evelyn De Morgan, drew on the imagery of Psalm 137 and its description of exiled musicians refusing to play for their captors. Meanwhile, Edward Burne-Jones, a friend of Watts who specialised in painting mythological and allegorical topics, in 1871 completed the cartoon for a planned stained glass window depicting Hope for St Margaret's Church in Hopton-on-Sea. Burne-Jones's design showed Hope upright and defiant in a prison cell, holding a flowering rod.Watts generally worked on his allegorical paintings on and off over an extended period, but it appears that...
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output: Edward
Please answer this: What is the answer for the question: What is the alias of the person a foundation was named after? from the following article ? Lazar Markovich Lissitzky (Russian: , listen ; November 23 [O.S. November 11] 1890 December 30, 1941), known as El Lissitzky (Russian: , Yiddish: ), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant-garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewute Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish rigin, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia. When only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS, when he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar Germany, working with and influencing important figures of the Bauhaus and De Stijl movements during his stay. In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. In 2014, the heirs of the artist, in...
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Answer: El Lissitzky
input question: What is the answer for the question: Who did the fire victims fear of an invasion from? from the following article ? The wind dropped on Tuesday evening, and the firebreaks created by the garrison finally began to take effect on Wednesday 5 September. Stopping the fire caused much fire and demolition damage in the lawyers' area called the Temple. Pepys walked all over the smouldering city, getting his feet hot, and climbed the steeple of Barking Church, from which he viewed the destroyed City, "the saddest sight of desolation that I ever saw." There were many separate fires still burning themselves out, but the Great Fire was over. The following Sunday, rain fell over the city extinguishing the fire. However, it took until the following March before embers stopped reigniting.Pepys visited Moorfields, a large public park immediately north of the City, and saw a great encampment of homeless refugees, "poor wretches carrying their good there, and every body keeping his goods together by themselves". He noted that the price of bread had doubled in the environs of the park. Evelyn also went out to Moorfields, which was turning into the main point of assembly for the homeless, and was horrified at the numbers of distressed people filling it, some under tents, others in makeshift shacks: "Many [were] without a rag or any necessary utensils, bed or board ... reduced to extremest misery and poverty." Evelyn was impressed by the pride of these distressed Londoners, "tho' ready to perish for hunger and destitution, yet not asking one pennie for relief." Fears were as high as ever among the traumatised fire victims, fear of foreign arsonists and of a French and Dutch invasion. There was an outbreak of general panic on Wednesday night in the encampments at Parliament Hill, Moorfields, and Islington. A light in the sky over Fleet Street started a story that 50,000 French and Dutch immigrants had risen, widely rumoured to have started the fire, and were marching towards Moorfields to finish what the fire had begun: to cut the men's throats, rape the women, and steal their few possessions. Surging into the streets, the frightened mob fell...???
output answer:
French