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203c82bf800f4cd50a02dc8e0c0305bbc6717dde

What is the last name of the person who worked as a governess while undertaking studies in art?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

9437fd9608c852a14b2aeb6a0eead45ad9f6debb

What is the last name of the person who first took classes at the National Gallery of Victoria Art School in 1883?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

b8f86d9bc6e6f24472372003a2df178a17ee96cc

What is the last name of the person who took a further term of study in 1888?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

3331717d923049c0c9b01a9f30fd609a7d7d18f7

What is the last name of the person who was a student of Jane Sutherland?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

78790bb3db60b59f940eb2b52b13e94900c5b7e5

What is the last name of the person whose studio opened before she turned 20?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

433fa9ae94de6241824e086b14182f163f848210

What is the last name of the person who died not long after arriving in England?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

84cf28278a6045f3928673796b72e1b59e5010a8

What is the last name of the person who returned to Australia in 1885?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

7a04d1092a3feead0cd0e085787130b7610f0d0c

What is the last name of the person who grew up in Tasmania?

Florence Fuller was born in Port Elizabeth, South Africa, in 1867, a daughter of Louisa and John Hobson Fuller. She had several siblings, including sisters Amy and Christie, both of whom subsequently became singers. The family migrated to Australia when Florence was a child. She worked as a governess while undertaking studies in art, and first took classes at the National Gallery of Victoria Art School in 1883, then again for a further term of study in 1888. During this period she was a student of Jane Sutherland, referred to in the Australian Dictionary of Biography as "the leading female artist in the group of Melbourne painters who broke with the nineteenth-century tradition of studio art by sketching and painting directly from nature".Fuller's uncle was Robert Hawker Dowling, a painter of orientalist and Aboriginal subjects, as well as portraits and miniatures. British-born, he had grown up in Tasmania and made a living there as a portraitist, before returning to his native England at age thirty. For the next two decades, his works were frequently hung at the Royal Academy. He returned to Australia in 1885, and Fuller became his pupil. In that year, aged eighteen, Fuller received a commission from Ann Fraser Bon, philanthropist and supporter of Victoria's Aboriginal people. The commission was for Barak–last chief of the Yarra Yarra Tribe of Aborigines, a formal oil on canvas portrait of the Indigenous Australian leader, William Barak. Ultimately, that painting was acquired by the State Library of Victoria. Although the painting is an important work regularly used to illustrate this significant figure in Australia's history, interpretations of Fuller's portrait are mixed: one critic noted the painting's objectivity and avoidance of romanticising Aboriginal people, while another concluded that "Fuller is painting an ideal rather than a person".In 1886, Dowling returned to his native England. Giving up her work as a governess, Fuller began to paint full-time, and had opened her own studio before she had turned twenty. Dowling had intended to return to Australia and had left behind an incomplete portrait of the Victorian governor's wife, Lady Loch. He died, however, not long after arriving in England; Fuller then completed Dowling's commission. Lady Loch became her patron. Other early portraits followed: two pictures of homeless children, entitled Weary (inspired by Henry Wadsworth Longfellow's poem on child labour "Weariness") and Desolate, in 1888; and Gently Reproachful circa 1889. Weary was acquired by the Art Gallery of New South Wales in 2015. The gallery's curator of Australian art described the depiction of billboard posters in the painting as giving it a "sense of gritty realism that was arguably unprecedented in Australian art."Also in 1889, Fuller was awarded a prize by the Victorian Artists Society for best portrait by an artist under twenty-five.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

56a7f237c0bf356f5983c6aaf941ed787119ae68

What is the name of the painting that is 109 cm high and 135 cm wide?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

8075e91373ee286653a84c814db44be32fbdfdb5

What is the title of the painting that portrays a woman and a man standing together in a rural setting in late afternoon?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

8ed6d0de358d9548e5882d361924028963d1f743

What is the name of the previous owner of the painting that portrays Sir John Winthrop Hackett?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

3fe9fe54b408a93124a192706badf4a2af67b8ae

What is the full name of the gallery chairman that had his portrait by the gallery he chaired?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

8101ef3f7026922a6d2521aa646594bfc8b086db

What is the full name of the French-Australian student of the woman who lived with her singer sister in Western Australia?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

e78c8129ca99626cc68d9a27bdb24b48cb187c1e

What was described as being essentially Australian in almost every detail?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

d5dda8f14f79f1616458b2c31d26bd00ff2fca0b

What was the last name of the person who painted a Western Australian politician?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

7a67b222d144a79686afc0eec4236eaa92967c06

What was the full name of the person that had a board that they chaired acquire a portrait of them?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

04926f8d056b46200de67f3fc4cb6176dc94a53e

What was the last name of the person who took up a French-Australian student?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

1882a5708f86233c8797d0c6c53539b232b9efb8

What was the name of the painting that portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

6921b348d638cc0ab34f072e2831d5ce7f75f55a

What was the name of the painting that was put up for sale in 2012?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

1c05b316bcccb170ffcc14b045b6d9df8456239f

What was the name of the painting that the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum?

Further recognition came with the hanging of one of Fuller's paintings, Summer Breezes, at the Royal Academy in 1904. Other Australian artists whose works were hung at the same time included Rupert Bunny, E. Phillips Fox, Albert Fullwood, George Lambert, and Arthur Streeton. Fuller was the only woman painter to be represented. A critic writing in The West Australian observed:The work ... is essentially Australian in almost every detail. Standing in a sunlit Australian paddock, a lithesome Australian blonde holds her summer hat on against the rude caresses of an Australian breeze—a subject simple but grand in its simplicity ... Next to its suggestion of breezy sunshine and the incidental portrayal of willowy grace the picture is to be admired for its colour scheme ... The details of the picture disclose untiring care. By the time Summer Breezes was on display, Fuller had returned to Australia, not to her previous home in Melbourne but to Perth in Western Australia, where she joined her sister, Amy Fuller, who was a singer. Although only in her mid-thirties, Fuller's background made her "one of the most experienced artists in Western Australia at this time". For the next four years, she painted portraits, including one of Western Australian politician James George Lee Steere, undertaken posthumously from photographs and recollections of those who had known him. It was acquired by the gallery whose board he chaired. She also took on students, including French-Australian artist Kathleen O'Connor. Fuller's paintings from this period included A Golden Hour, described by the National Gallery of Australia as "a masterpiece ... giving us a gentle insight into the people, places and times that make up our history". The painting, an oil on canvas 109 cm (43 in) high and 135 cm (53 in) wide, portrays a woman and a man standing together in a rural setting in late afternoon, surrounded by grass, scattered gum trees, and Xanthorrhoea. When the painting was put up for sale in 2012, the auction house catalogue stated that it had been owned by William Ride, former director of the Western Australian Museum. It reported:The current owners assert that Professor Ride always understood the figures in the picture were Sir John Winthrop Hackett, (then owner of The West Australian newspaper, well known business man and philanthropist, whose gift allowed the construction of the impressive University of Western Australia buildings and St. George's Residential College) and his new wife, Deborah Vernon Hackett".

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

c2e5edcd5d4d793d666651ec3db32c3412c372e8

What is the last name of the person who was taught photography?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

b69fd0e734a3169efc179f3d16a56902cd337b8b

What is the last name of the person who had a small studio built into the grounds?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

cfe126502b985ef34f4af1b7b63243a9ed3aa732

What is the last name of the person who painted?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

5a9fb0072c0634ca1573d1245f6eadd0a4aab5df

What is the full name of the person whose works from the period includes a portrait of Leadbeater?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

25ddb60d41e262c2df61e0bb00e633f7a6780233

What is the name of the person whose works from the period include a portrait of the Lord Buddha?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

971498e7018880291d4324bc6e33e863dbe946d0

Who spent time in India?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

cc4633f0017db368b1e30b192f4474e0c40c96e6

Who arrived in England in June 1911?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

1e0a225472eb155d5122f78ed40e916f54451152

Who marched with Besant?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

05c810660d3810fd59a839c460615d442d6b0c5c

Who marched in suffragette protests associated with the coronation of George V?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

14c91a6298d7baf8855d40bda8901444fc8b190f

Who found it difficult to realize the transformation in their art?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

575b3c5c7c7a0aa7f9f6e4bf28bb102e16d18769

What is the last name of the person whose works include Portrait of the Lord Buddha?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

66aa7ea9d2788cfcbf76e154e1239595214d3538

What is the last name of the person who found it difficult to realise the transformation in her art ?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

9ad296fd2c5a3a4a71360fe6e4d85a9b9d787925

What is the last name of the person who went to England in June 1911?

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 successful—though 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.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

e3b471671bc3fdfe27649008a28736701eee89e9

What is the last name of the person who is not mentioned at all in Australian Women Artists 1840–1940?

Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

cb40e97690439816132bc48728c5e3d8812b6abc

What is the last name of the person who is not mentioned at all in Max Germaine's Dictionary of Women Artists in Australia?

Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

ad1d4952604dec7ef94965785ff2d53e650b696d

What is the last name of the person who is not mentioned at all in Caroline Ambrus's Australian Women Artists?

Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

a3fc23cdc6a39ac7159786ec24b9a97c0728cd06

What is the last name of the person whose work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993?

Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

4997520c18b9208bdf37b57f174e7ed1d5d8d1d8

What is the last name of the person who was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication?

Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

42519aa36a8c84f218daae7b441bf040c2cc0087

What is the last name of the person whose work is held internationally by the Newport Museum and Art Gallery in South Wales?

Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.

Florence Fuller

https://en.wikipedia.org/wiki/Florence_Fuller

e0f9dca1d9aede1886c96abdf3a00f67e5c3965f

What is the nickname of the person who encourages Roman to climb down the mine shaft?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

6876122f5c87dbe84e0a5d297781c1d0bce690b8

Who is the brother of the teenager attempting to romance Cammie?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

fbe320aa7deeaa7e81e8c7d6f35a4c4c52454ef1

Who is the sister-in-law of the investment broker?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

76b2a7d0231781e176da97ea2f3aea4c0ccb08cc

What the first name of the person the investment broker angers during the water ski ride?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

43cd58cc022a321cc21d8c3b6874614888bb5ea7

What is the full name of the person who was attacked by a giant grizzly bear?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

a73c6dbd6265ead6511b449b045d8ae849bd777b

What is the nickname of the person who fired at a bear with a shotgun?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

794b8736c19795c22d7c018b8ca2df59b34ad776

What is the full name of the person who has not told his wife that they are broke?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

9bb8f5cb5c64069203121f0d07b235e58c717b53

What is the full name of the person who was planning to ask Chet for cash?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

6ae44b49a385bc8c37d187c635b2aa1aa42b73a8

Who wander off and fall into a mine shaft?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

c6ef8a5ec6f78c6edf51cb485c3dc884e8506fba

Who climb out of a mine shaft with the help of their father?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

1bf221a283f866c85f45ec35b88aad2a9695b9c0

What is the first name of the father of the kids who get stuck in the mine shaft?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

2971ae4f82b0b009ff09793bef4bff9ae0527dc8

Who is the sister of the twins' mother?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

c6e64245d31c12faeee6573e49721f26941d0bbd

Who is the wife of the twins' father?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

59725471f32730eb206d0951981e43cd04f97ade

What is the first name of the father of the person that is trying to romance the local girl?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

508493e021cb338a2ede0203e3c6b258fffc922c

Who is the brother of boy who breaks his date due to the dinner challenge?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

bb37729c3f9773dc3cd1beb0bcd0049a517b802c

What are the first names people who crash the vacation?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

ab3290f0fed7aca79773fbbdd42482fd7ca87876

What are the first names of the vacation that Kate and her investment broker husband crash?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

66e34c938741cbd2fe495f4c9f51c13e341a3fe8

What is the real name of the person who met face-to-face with a man-eating grizzly bear when he was younger?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

30ebf2eb5433ebd608a382306fcc4b044c9ed480

What is the real name of the person who tries to romance Cammie?

Chicagoan Chester "Chet" Ripley, his wife, Connie, and their two sons, Buckley "Buck" and Ben, are on vacation at a lake resort in Pechoggin, Wisconsin during the summer. All is going as planned until Connie's sister, Kate, her investment broker husband, Roman Craig, and their twin daughters, Mara and Cara, crash the vacation. Ghost stories at the family BBQ include one of a man-eating grizzly bear that Chet met face-to-face when he was younger. Chet says that while he and Connie were honeymooning at the same lake, he was attacked by a giant grizzly bear. When he fired at it with a shotgun, the buckshot shaved the hair off the top of the bear's head and from that day on, it was known as the "Bald-Headed Bear" of Claire County. After Roman pulls Chet around the lake on an impromptu water ski ride with his rented speedboat, tensions between the families erupt. Chet is ready to pack up and go home, even as his teenage son Buck tries to romance a local girl, Cammie. The budding romance goes well until Chet is challenged to eat the Old 96'er (a 96-ounce steak) at a family dinner which causes Buck to break their date. Buck tries to apologize to Cammie for being late, but Cammie refuses to speak to him. Connie and Kate bond at a local bar when the conversation drifts to Kate's challenges of being wealthy. Later, just at the peak of tension between families, it emerges that Roman has made a bad investment and is broke. He has not told Kate and was planning to hit up Chet for the cash. Later, during a thunderstorm, the twins wander off and fall into a mine shaft. Chet and Roman find them, but the claustrophobic Roman is reluctant to descend into the tiny mine shaft. After some encouragement from Chet, Roman summons up all his courage, while Chet goes in search of a rope to pull them out. Upon realizing that the mine is stocked with old dynamite, Roman takes his daughters and climbs out of the shaft on his own.

The Great Outdoors (film)

https://en.wikipedia.org/wiki/The_Great_Outdoors_(film)

eb25ef02c117198e2e0a0be0e170d200d714823d

What is the name of the character who warned the others about the Fallen's return?

In 17,000 B.C., the Seven Primes travel across the universe to create Energon with star-absorbing machines called Sun Harvesters, which destroy stars in order to collect their raw material. One of them defies the rule to never to destroy a planet with life by establishing a Sun Harvester on Earth, earning him the name "The Fallen". The Fallen is confronted by the other Primes, who imprison him before he can harvest the Sun using the Matrix of Leadership. The rest of the Primes then sacrifice themselves to hide the Matrix in an unknown location. In the present, two years after the events of the first film, the Autobots and the U.S. military have formed the Non-biological Extraterrestrial Species Treaty, a classified international task force used to eliminate the surviving Decepticons. In Shanghai, the Autobots intercept two Decepticons, Demolisher and Sideways. Sideways is killed by the Autobot Sideswipe, while Optimus Prime kills Demolisher, but not before he warns them of the Fallen's return. At NEST's secure headquarters in Diego Garcia, National Security Adviser Theodore Galloway concludes that since Megatron's corpse is at the bottom of the Laurentian Abyss and the last-known AllSpark shard is secured in the base, the Decepticons must still be on Earth solely to hunt the Autobots. The Decepticon Soundwave hacks into a military satellite, overhears this information, and sends Ravage to retrieve the shard.

Transformers: Revenge of the Fallen

https://en.wikipedia.org/wiki/Transformers:_Revenge_of_the_Fallen

12009d0b65e9a9b93212d751bda3d6f940860ad0

Who wants to buy a horse farm?

When criminal mastermind Erwin "Doc" Riedenschneider is released from prison after seven years, he goes to see a bookie named Cobby in an unnamed Midwest river city (probably Cincinnati), who arranges a meeting with Alonzo Emmerich, a lawyer. Emmerich listens to Doc's plan to steal jewelry worth half a million dollars or more. Doc needs $50,000 to hire three men—a "box man" (safecracker), a driver, and a "hooligan"—to help him pull off the caper. Emmerich agrees to provide the money and assume the responsibility for disposing of the loot. Doc hires Louie Ciavelli, a professional safecracker. Ciavelli only trusts Gus Minissi, a hunchbacked diner owner, as the getaway driver. The final member of the gang is Dix Handley, a friend of Gus. Dix explains his goal to Doll Conovan, who is in love with him. His dream is to buy back the horse farm that his father lost during the Great Depression. During the crime (an 11-minute sequence in the film), the criminals carry out their work. Ciavelli hammers through a brick wall to get into the jewelry store, deactivates a door alarm to let in Doc and Dix, and opens the main safe using home-brewed nitroglycerine ("the soup"). On their way out, Dix slugs an arriving security guard, who drops his revolver, which discharges and wounds Ciavelli in the belly. The men get away unseen, but a police manhunt begins.

The Asphalt Jungle

https://en.wikipedia.org/wiki/The_Asphalt_Jungle

fa9b2306a297d5f81942519d0a578e6899fdeffd

What year was the town that had its population dip under 100 granted National Historic Landmark status?

Following a brief post-war downturn, boom times returned to Jerome in the 1920s. Copper prices rose to 24 cents a pound in 1929, and United Verde and UVX operated at near capacity. Wages rose, consumers spent, and the town's businesses—including five automobile dealerships—prospered. United Verde, seeking stable labor relations, added disability and life insurance benefits for its workers and built a baseball field, tennis courts, swimming pools, and a public park in Jerome. Both companies donated to the Jerome Public Library and helped finance projects for the town's schools, churches, and hospitals.In 1930, after the start of the Great Depression, the price of copper fell to 14 cents a pound. In response, United Verde began reducing its work force; UVX operated at a loss, and the third big mine, Verde Central, closed completely. The price of copper fell further in 1932 to 5 cents a pound, leading to layoffs, temporary shut-downs, and wage reductions in the Verde District. In 1935, the Clark family sold United Verde to Phelps Dodge, and in 1938 UVX went out of business. Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of James Douglas donated the Douglas mansion, above the UVX mine site, to the State of Arizona, which used it to create Jerome State Historic Park. By sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the 21st century include art galleries, craft stores, wineries, coffee houses, and restaurants.

Jerome, Arizona

https://en.wikipedia.org/wiki/Jerome,_Arizona

d09aba66a3d2efb848468c20304af69b42a08a20

What mine shut down in 1953 in the town that had a boom period in the 1920s?

Following a brief post-war downturn, boom times returned to Jerome in the 1920s. Copper prices rose to 24 cents a pound in 1929, and United Verde and UVX operated at near capacity. Wages rose, consumers spent, and the town's businesses—including five automobile dealerships—prospered. United Verde, seeking stable labor relations, added disability and life insurance benefits for its workers and built a baseball field, tennis courts, swimming pools, and a public park in Jerome. Both companies donated to the Jerome Public Library and helped finance projects for the town's schools, churches, and hospitals.In 1930, after the start of the Great Depression, the price of copper fell to 14 cents a pound. In response, United Verde began reducing its work force; UVX operated at a loss, and the third big mine, Verde Central, closed completely. The price of copper fell further in 1932 to 5 cents a pound, leading to layoffs, temporary shut-downs, and wage reductions in the Verde District. In 1935, the Clark family sold United Verde to Phelps Dodge, and in 1938 UVX went out of business. Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of James Douglas donated the Douglas mansion, above the UVX mine site, to the State of Arizona, which used it to create Jerome State Historic Park. By sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the 21st century include art galleries, craft stores, wineries, coffee houses, and restaurants.

Jerome, Arizona

https://en.wikipedia.org/wiki/Jerome,_Arizona

6784c5d9fb4d393ab473bf91fe4985002cdc6321

What is the name of the group that formed in 1953 to open a gift shop in the town that had a baseball field built by United Verde?

Following a brief post-war downturn, boom times returned to Jerome in the 1920s. Copper prices rose to 24 cents a pound in 1929, and United Verde and UVX operated at near capacity. Wages rose, consumers spent, and the town's businesses—including five automobile dealerships—prospered. United Verde, seeking stable labor relations, added disability and life insurance benefits for its workers and built a baseball field, tennis courts, swimming pools, and a public park in Jerome. Both companies donated to the Jerome Public Library and helped finance projects for the town's schools, churches, and hospitals.In 1930, after the start of the Great Depression, the price of copper fell to 14 cents a pound. In response, United Verde began reducing its work force; UVX operated at a loss, and the third big mine, Verde Central, closed completely. The price of copper fell further in 1932 to 5 cents a pound, leading to layoffs, temporary shut-downs, and wage reductions in the Verde District. In 1935, the Clark family sold United Verde to Phelps Dodge, and in 1938 UVX went out of business. Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of James Douglas donated the Douglas mansion, above the UVX mine site, to the State of Arizona, which used it to create Jerome State Historic Park. By sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the 21st century include art galleries, craft stores, wineries, coffee houses, and restaurants.

Jerome, Arizona

https://en.wikipedia.org/wiki/Jerome,_Arizona

28af1e24935a8f6502f0359055ade22484ad034f

What was the name of the park established in 1962 in the town that lost dozens of buildings to earth sinking away?

Following a brief post-war downturn, boom times returned to Jerome in the 1920s. Copper prices rose to 24 cents a pound in 1929, and United Verde and UVX operated at near capacity. Wages rose, consumers spent, and the town's businesses—including five automobile dealerships—prospered. United Verde, seeking stable labor relations, added disability and life insurance benefits for its workers and built a baseball field, tennis courts, swimming pools, and a public park in Jerome. Both companies donated to the Jerome Public Library and helped finance projects for the town's schools, churches, and hospitals.In 1930, after the start of the Great Depression, the price of copper fell to 14 cents a pound. In response, United Verde began reducing its work force; UVX operated at a loss, and the third big mine, Verde Central, closed completely. The price of copper fell further in 1932 to 5 cents a pound, leading to layoffs, temporary shut-downs, and wage reductions in the Verde District. In 1935, the Clark family sold United Verde to Phelps Dodge, and in 1938 UVX went out of business. Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of James Douglas donated the Douglas mansion, above the UVX mine site, to the State of Arizona, which used it to create Jerome State Historic Park. By sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the 21st century include art galleries, craft stores, wineries, coffee houses, and restaurants.

Jerome, Arizona

https://en.wikipedia.org/wiki/Jerome,_Arizona

4907a7b746ca497fb3249e0f90e0058b121903c1

What is the last name of the family that donated a mansion to the town that had many public buildings built by United Verde?

Following a brief post-war downturn, boom times returned to Jerome in the 1920s. Copper prices rose to 24 cents a pound in 1929, and United Verde and UVX operated at near capacity. Wages rose, consumers spent, and the town's businesses—including five automobile dealerships—prospered. United Verde, seeking stable labor relations, added disability and life insurance benefits for its workers and built a baseball field, tennis courts, swimming pools, and a public park in Jerome. Both companies donated to the Jerome Public Library and helped finance projects for the town's schools, churches, and hospitals.In 1930, after the start of the Great Depression, the price of copper fell to 14 cents a pound. In response, United Verde began reducing its work force; UVX operated at a loss, and the third big mine, Verde Central, closed completely. The price of copper fell further in 1932 to 5 cents a pound, leading to layoffs, temporary shut-downs, and wage reductions in the Verde District. In 1935, the Clark family sold United Verde to Phelps Dodge, and in 1938 UVX went out of business. Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of James Douglas donated the Douglas mansion, above the UVX mine site, to the State of Arizona, which used it to create Jerome State Historic Park. By sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the 21st century include art galleries, craft stores, wineries, coffee houses, and restaurants.

Jerome, Arizona

https://en.wikipedia.org/wiki/Jerome,_Arizona

6e9d9fbf554d7af11bec1ad2b52ed49a458134b0

Who organized the Jerome Historical Society?

Meanwhile, a subsidence problem that had irreparably damaged at least 10 downtown buildings by 1928 worsened through the 1930s. Dozens of buildings, including the post office and jail, were lost as the earth beneath them sank away. Contributing causes were geologic faulting in the area, blast vibrations from the mines, and erosion that may have been exacerbated by vegetation-killing smelter smoke.Mining continued at a reduced level in the Verde District until 1953, when Phelps Dodge shut down the United Verde Mine and related operations. Jerome's population subsequently fell below 100. To prevent the town from disappearing completely, its remaining residents turned to tourism and retail sales. They organized the Jerome Historical Society in 1953 and opened a museum and gift shop.To encourage tourism, the town's leaders sought National Historic Landmark status for Jerome; it was granted by the federal government in 1967. In 1962, the heirs of James Douglas donated the Douglas mansion, above the UVX mine site, to the State of Arizona, which used it to create Jerome State Historic Park. By sponsoring music festivals, historic-homes tours, celebrations, and races, the community succeeded in attracting visitors and new businesses, which in the 21st century include art galleries, craft stores, wineries, coffee houses, and restaurants.

Jerome, Arizona

https://en.wikipedia.org/wiki/Jerome,_Arizona

866f44e8775f930d889caef389a9c67fccceca2a

What dynasty can influences of the architectural style that originated from the older dravida style be seen?

Though the basic plan of the Western Chalukya style originated from the older dravida style, many of its features were unique and peculiar to it. One of these distinguishing features of the Western Chalukyan architectural style was an articulation that can still be found throughout modern Karnataka. The only exceptions to this motif can be found in the area around Kalyani, where the temples exhibit a nagara (North Indian) articulation which has its own unique character.In contrast to the buildings of the early Badami Chalukyas, whose monuments were clustered around the metropoleis of Pattadakal, Aihole, and Badami, these Western Chalukya temples are widely dispersed, reflecting a system of local government and decentralisation. The Western Chalukya temples were smaller than those of the early Chalukyas, a fact discernible in the reduced height of the superstructures which tower over the shrines. The Western Chalukya art evolved in two phases, the first lasting approximately a quarter of a century and the second from the beginning of 11th century until the end of Western Chalukya rule in 1186 CE. During the first phase, temples were built in the Aihole-Banashankari-Mahakuta region (situated in the early Chalukya heartland) and Ron in the Gadag district. A few provisional workshops built them in Sirval in the Gulbarga district and Gokak in the Belgaum district. The structures at Ron bear similarities to the Rashtrakuta temples in Kuknur in the Koppal district and Mudhol in the Bijapur district, evidence that the same workshops continued their activity under the new Karnata dynasty. The mature and latter phase reached its peak at Lakkundi (Lokigundi), a principal seat of the imperial court. From the mid-11th century, the artisans from the Lakkundi school moved south of the Tungabhadra River. Thus the influence of the Lakkundi school can be seen in some of the temples of the Davangere district, and in the temples at Hirehadagalli and Huvinahadgalli in the Bellary district.Influences of Western Chalukya architecture can be discerned in the geographically distant schools of architecture of the Hoysala Empire in southern Karnataka, and the Kakatiya dynasty in present-day Andhra Pradesh. Sometimes called the Gadag style of architecture, Western Chalukya architecture is considered a precursor to the Hoysala architecture of southern Karnataka. This influence occurred because the early builders employed by the Hoysalas came from pronounced centres of medieval Chalukya art. Further monuments in this style were built not only by the Western Chalukya kings but, also by their feudal vassals.

Western Chalukya architecture

https://en.wikipedia.org/wiki/Western_Chalukya_architecture

0ca9ecac08ad5d2d59dbc4f3d43435aa83ef7c8f

What is the name of the style that was influenced by the style that originated from the older dravida style?

Though the basic plan of the Western Chalukya style originated from the older dravida style, many of its features were unique and peculiar to it. One of these distinguishing features of the Western Chalukyan architectural style was an articulation that can still be found throughout modern Karnataka. The only exceptions to this motif can be found in the area around Kalyani, where the temples exhibit a nagara (North Indian) articulation which has its own unique character.In contrast to the buildings of the early Badami Chalukyas, whose monuments were clustered around the metropoleis of Pattadakal, Aihole, and Badami, these Western Chalukya temples are widely dispersed, reflecting a system of local government and decentralisation. The Western Chalukya temples were smaller than those of the early Chalukyas, a fact discernible in the reduced height of the superstructures which tower over the shrines. The Western Chalukya art evolved in two phases, the first lasting approximately a quarter of a century and the second from the beginning of 11th century until the end of Western Chalukya rule in 1186 CE. During the first phase, temples were built in the Aihole-Banashankari-Mahakuta region (situated in the early Chalukya heartland) and Ron in the Gadag district. A few provisional workshops built them in Sirval in the Gulbarga district and Gokak in the Belgaum district. The structures at Ron bear similarities to the Rashtrakuta temples in Kuknur in the Koppal district and Mudhol in the Bijapur district, evidence that the same workshops continued their activity under the new Karnata dynasty. The mature and latter phase reached its peak at Lakkundi (Lokigundi), a principal seat of the imperial court. From the mid-11th century, the artisans from the Lakkundi school moved south of the Tungabhadra River. Thus the influence of the Lakkundi school can be seen in some of the temples of the Davangere district, and in the temples at Hirehadagalli and Huvinahadgalli in the Bellary district.Influences of Western Chalukya architecture can be discerned in the geographically distant schools of architecture of the Hoysala Empire in southern Karnataka, and the Kakatiya dynasty in present-day Andhra Pradesh. Sometimes called the Gadag style of architecture, Western Chalukya architecture is considered a precursor to the Hoysala architecture of southern Karnataka. This influence occurred because the early builders employed by the Hoysalas came from pronounced centres of medieval Chalukya art. Further monuments in this style were built not only by the Western Chalukya kings but, also by their feudal vassals.

Western Chalukya architecture

https://en.wikipedia.org/wiki/Western_Chalukya_architecture

72be21bc70fdf2ccc2950b89c774db482dfa1e82

What shrine location has wall pillars with two fully exposed sides, with a high base block decorated with a mirrored stalk motif

Temples built in and around the Kalyani region (in the Bidar district) were quite different from those built in other regions. Without exception, the articulation was nagara, and the temple plan as a rule was either stepped-diamond or stellate. The elevations corresponding to these two plans were similar because star shapes were produced by rotating the corner projections of a standard stepped plan in increments of 11.25 degrees, resulting in a 32-pointed interrupted plan in which three star points are skipped in the centre of each side of the shrine. Examples of stepped-diamond plans surviving in Karnataka are the Dattatreya Temple at Chattarki, the Someshvara Temple in Kadlewad, and the Mallikarjuna and Siddhesvara at Kalgi in the Gulbarga district. The nagara shrine at Chattarki is a stepped diamond of projecting corners with five projections per side. Because of the stepped-diamond plan, the wall pillars have two fully exposed sides, with a high base block decorated with a mirrored stalk motif and two large wall images above. The shapes and decorations on the rest of the wall pillar have a striking resemblance to the actual pillars supporting the ceiling.The other type is the square plan with simple projections and recesses but with a possibility of both sekhari and bhumija superstructures. The plan does not have any additional elements save those that derive from the ground plan. The recesses are simple and have just one large wall image. The important characteristic of these nagara temples in the Kalyani region is that they not only differ from the dravida temples in the north Karnataka region but from the nagara temples north of the Kalyani region as well. These differences are manifest in the articulation and in the shapes and ornamentation of individual architectural components, giving them a unique place in Chalukyan architecture. Temples that fall in this category are the Mahadeva Temple at Jalsingi and the Suryanarayana Temple at Kalgi in the modern-day Gulbarga district. The plan and the nagara articulation of these temples are the same as found to the north of the Kalyani region, but the details are different, producing a different look.

Western Chalukya architecture

https://en.wikipedia.org/wiki/Western_Chalukya_architecture

cfb9a93065915e7f4a41d1e9f4e53ccb5d486f6b

What regions shrines are manifested in the articulation and in the shapes and ornamentation of individual architectural components

Temples built in and around the Kalyani region (in the Bidar district) were quite different from those built in other regions. Without exception, the articulation was nagara, and the temple plan as a rule was either stepped-diamond or stellate. The elevations corresponding to these two plans were similar because star shapes were produced by rotating the corner projections of a standard stepped plan in increments of 11.25 degrees, resulting in a 32-pointed interrupted plan in which three star points are skipped in the centre of each side of the shrine. Examples of stepped-diamond plans surviving in Karnataka are the Dattatreya Temple at Chattarki, the Someshvara Temple in Kadlewad, and the Mallikarjuna and Siddhesvara at Kalgi in the Gulbarga district. The nagara shrine at Chattarki is a stepped diamond of projecting corners with five projections per side. Because of the stepped-diamond plan, the wall pillars have two fully exposed sides, with a high base block decorated with a mirrored stalk motif and two large wall images above. The shapes and decorations on the rest of the wall pillar have a striking resemblance to the actual pillars supporting the ceiling.The other type is the square plan with simple projections and recesses but with a possibility of both sekhari and bhumija superstructures. The plan does not have any additional elements save those that derive from the ground plan. The recesses are simple and have just one large wall image. The important characteristic of these nagara temples in the Kalyani region is that they not only differ from the dravida temples in the north Karnataka region but from the nagara temples north of the Kalyani region as well. These differences are manifest in the articulation and in the shapes and ornamentation of individual architectural components, giving them a unique place in Chalukyan architecture. Temples that fall in this category are the Mahadeva Temple at Jalsingi and the Suryanarayana Temple at Kalgi in the modern-day Gulbarga district. The plan and the nagara articulation of these temples are the same as found to the north of the Kalyani region, but the details are different, producing a different look.

Western Chalukya architecture

https://en.wikipedia.org/wiki/Western_Chalukya_architecture

eb9f48922dae9f2bea318ca31a11830dd6df995d

At what location was there an archaelogical discovery of a royal center that showed affinities to the temple tanks of the Western Chalukya–Hoysala?

The Western Chalukya dynastic rule ended in the late 12th century, but its architectural legacy was inherited by the temple builders in southern Karnataka, a region then under the control of the Hoysala empire. Broadly speaking, Hoysala architecture is derived from a variant of Western Chalukya architecture that emerged from the Lakshmeshwar workshops. The construction of the Chennakesava Temple at Belur was the first major project commissioned by Hoysala King Vishnuvardhana in 1117 CE. This temple best exemplifies the Chalukyan taste the Hoysala artisans inherited. Avoiding overdecoration, these artists left uncarved spaces where required, although their elaborate doorjambs are exhibitionistic. Here, on the outer walls, the sculptures are not overdone, yet they are articulate and discreetly aesthetic. The Hoysala builders used soapstone almost universally as building material, a trend that started in the middle of the 11th century with Chalukyan temples. Other common artistic features between the two Kanarese dynasties are the ornate Salabhanjika (pillar bracket figures), the lathe-turned pillars and the makara torana (lintel with mythical beastly figure). The tower over the shrine in a Hoysala temple is a closely moulded form of the Chalukya style tower.When the Vijayanagara Empire was in power in the 15th and 16th centuries, its workshops preferred granite over soapstone as the building material for temples. However, an archaeological discovery within the royal center at Vijayanagara has revealed the use of soapstone for stepped wells. These stepped wells are fashioned entirely of finely finished soapstone arranged symmetrically, with steps and landings descending to the water on four sides. This design shows strong affinities to the temple tanks of the Western Chalukya–Hoysala period.

Western Chalukya architecture

https://en.wikipedia.org/wiki/Western_Chalukya_architecture

eeb552ff707d6d206c12b1aa6f1cf5e49098b400

What is the last name of the person that is helped to his feet?

On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American, who is never named but is nicknamed "Tex" by Billy for his thick Texan accent, arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. He wakes a few days later in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, even young children.

Midnight Express (film)

https://en.wikipedia.org/wiki/Midnight_Express_(film)

930dfb3bdd1c63cf54955b6d914aedff5c39470c

What is the last name of the person that wakens in Sagmalcilar Prison after being beaten by Hamidou?

On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American, who is never named but is nicknamed "Tex" by Billy for his thick Texan accent, arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. He wakes a few days later in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, even young children.

Midnight Express (film)

https://en.wikipedia.org/wiki/Midnight_Express_(film)

8044e22e6823a840bb5db242d7c04a712cfcdd44

Who gives the nickname to the man with the thick accent?

On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American, who is never named but is nicknamed "Tex" by Billy for his thick Texan accent, arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. He wakes a few days later in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, even young children.

Midnight Express (film)

https://en.wikipedia.org/wiki/Midnight_Express_(film)

f6478bec344676172a46459c496887ce750b65a6

Who in the Sağmalcılar prison with the college student is from England?

On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American, who is never named but is nicknamed "Tex" by Billy for his thick Texan accent, arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. He wakes a few days later in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, even young children.

Midnight Express (film)

https://en.wikipedia.org/wiki/Midnight_Express_(film)

6c846cf81de39b5d7566c382b3b3020e67cd2943

After stealing a blanket, what is the first name of the person that is rousted from his cell?

On October 6, 1970, on holiday in Istanbul, Turkey, American college student Billy Hayes straps 2 kg of hashish blocks to his chest. While attempting to board a plane back to the United States with his girlfriend, Billy is arrested by Turkish police on high alert for fear of terrorist attacks. He is strip-searched, photographed, and questioned. After a while, a shadowy American, who is never named but is nicknamed "Tex" by Billy for his thick Texan accent, arrives, takes Billy to a police station, and translates Billy's English for one of the detectives. Billy says that he bought the hashish from a taxicab driver and offers to help the police track him down in exchange for his release. Billy goes with the police to a nearby market and points out the cab driver, but when they go to arrest the cabbie, it becomes apparent that the police have no intention of keeping their end of the deal with Billy. He sees an opportunity and makes a run for it, only to get cornered and recaptured by the mysterious American. During his first night in holding at a local jail, a freezing-cold Billy sneaks out of his cell and steals a blanket. Later that night, he is rousted from his cell and brutally beaten by chief guard Hamidou for the theft. He wakes a few days later in Sağmalcılar Prison, surrounded by fellow Western prisoners Jimmy (an American who is in for stealing two candlesticks from a mosque), Max (an English heroin addict), and Erich (a Swede, also in for drug smuggling), who help him to his feet. Jimmy tells Billy that the prison is a dangerous place for foreigners like them and that no one can be trusted, even young children.

Midnight Express (film)

https://en.wikipedia.org/wiki/Midnight_Express_(film)

d838c6b7dfdf8fa6a9d15f30afb0c56b367f8385

What is the full name of Silverchair's lead singer?

Diorama is the fourth studio album by Australian alternative rock band Silverchair, released on 31 March 2002 by Atlantic/Eleven. It won the 2002 ARIA Music Award for Best Group and Best Rock Album. The album was co-produced by Daniel Johns and David Bottrill. While Bottrill had worked on albums for a variety of other bands, Diorama marked the first production credit for lead singer Johns. Johns wrote most of the album at the piano instead of his usual guitar, while the band took a 12-month break following their previous studio album, Neon Ballroom. Silverchair worked with composer Van Dyke Parks on Diorama; the album contains numerous orchestral arrangements and power ballads, a change from the post-grunge music typical of their earlier work, but consistent with the band's previous orchestrations on Neon Ballroom. The album's title refers to "a world within a world". Five singles were released: "The Greatest View", "Without You", "Luv Your Life", "Across the Night" and "After All These Years". All except "After All These Years", a promotional single, appeared on the Australian singles chart. Diorama was successful in the charts but was not as well received by critics as the band's earlier albums. It reached number one on the Australian Recording Industry Association (ARIA) Albums Chart and received a rating of 71 (out of 100) on review aggregator Metacritic. It was certified triple-platinum by ARIA, selling in excess of 210,000 copies, and won five ARIA Awards in 2002. Diorama was nominated for Highest Selling Album in 2003, and three songs from the album were nominated for awards over the two years.

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

c5308cc4533e711f72e66d0b1400914d2860b255

What is the full name of the person that wrote most of the songs for Diorama?

Diorama is the fourth studio album by Australian alternative rock band Silverchair, released on 31 March 2002 by Atlantic/Eleven. It won the 2002 ARIA Music Award for Best Group and Best Rock Album. The album was co-produced by Daniel Johns and David Bottrill. While Bottrill had worked on albums for a variety of other bands, Diorama marked the first production credit for lead singer Johns. Johns wrote most of the album at the piano instead of his usual guitar, while the band took a 12-month break following their previous studio album, Neon Ballroom. Silverchair worked with composer Van Dyke Parks on Diorama; the album contains numerous orchestral arrangements and power ballads, a change from the post-grunge music typical of their earlier work, but consistent with the band's previous orchestrations on Neon Ballroom. The album's title refers to "a world within a world". Five singles were released: "The Greatest View", "Without You", "Luv Your Life", "Across the Night" and "After All These Years". All except "After All These Years", a promotional single, appeared on the Australian singles chart. Diorama was successful in the charts but was not as well received by critics as the band's earlier albums. It reached number one on the Australian Recording Industry Association (ARIA) Albums Chart and received a rating of 71 (out of 100) on review aggregator Metacritic. It was certified triple-platinum by ARIA, selling in excess of 210,000 copies, and won five ARIA Awards in 2002. Diorama was nominated for Highest Selling Album in 2003, and three songs from the album were nominated for awards over the two years.

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

82fe624280305f3b43d068d6212d5b2d9ddd868a

What was the name of the band that worked for the record label Eleven?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

b97b3b91f86af576afb78ec3ae7e293a5f3162bf

What is the name of the band that released the single "The Greatest View"?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

fc916ad3ed7670b7d0cbf8fa082b452bc0762c92

What is the name of the band that reached 116 in France on the album chart?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

b4e2bf68cd9c24528dbb9c6fe57d9fa5bf1e3ddc

What is the name of the band that released the album Young Modern?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

35b817e9931919187d4e90a708fcfcc490e2f7fb

What was the name of the song that was about the media frenzy that had surrounded the band for many years?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

56ee6bff2c758a887ab823792c8b6fcfaea55d96

What was the name of the album that Without You was released on?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

9557ba59b39cf4ab3137c7b3a5929a5c7a0f403b

What song was released on 20 September?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

dc79345973a08df80f4f0d6a093e8865aed8c220

What is the name of the song that was an inspiration from Johns therapy session?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

ca85bfe313d013553480b7ec7d782ca23319e4d7

What song failed to reach the charts?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

a7432d91ac0fff0a1f27fa9af432393318482ef5

What is the name of the album that had the final single "Across the Night"?

Following a 31 March 2002 release on record label Eleven, Diorama reached number one on the ARIA Albums Chart on 14 April, making it Silverchair's fourth chart-topping album. It went on to be certified triple-platinum by ARIA, indicating sales in excess of 210,000 copies. The album peaked at number seven in New Zealand, thirteen in Austria, forty in Switzerland, and 116 in France. Diorama reached number ninety-one on the U.S. Billboard 200.The first single, "The Greatest View", was released in advance of the album on 28 January 2002. It reached number three in Australia, where it was also certified gold, and number four in New Zealand and Canada. It charted at number thirty-six on Billboard's Hot Modern Rock Tracks in 2007 when re-released alongside the band's next album, Young Modern. Johns wrote "The Greatest View" as a response to the media "always watching [him] in different way". It was not intended to be aggressive, rather a straightforward commentary on the media frenzy that had surrounded the band for many years.On 13 May 2002, "Without You" was released as the second single. It peaked at number eight in Australia, but dropped to number twenty-nine the following week, only spending five weeks on the chart. The song was first announced by Silverchair bass guitarist Chris Joannou in November 1999, when he told fans the band had "a very small cache of recorded material stored away", including "Without You". "Without You" was followed by "Luv Your Life", which peaked at number twenty in Australia after its 20 September release. The inspiration for the song came to Johns during a therapy session, based on the idea that "there were people in the world who needed treatment but couldn't afford therapy." Johns composed most of the song's lyrics while listening to a therapist. In a performance at London's Shepherds Bush Empire, Johns jokingly said "Luv Your Life" was dedicated "to all my ladies"."After All These Years", a promotional single, followed "Luv Your Life", but failed to reach the charts. The final single "Across the Night" was released on 11 March 2003. The song, which Johns wrote over nine hours on a sleepless night, peaked at number twenty-four on its three weeks on the Australian chart. The arrangement by Parks features twin keyboards and a full orchestra. The band's much-delayed tour in support of Diorama took its name from "Across the Night".

Diorama (album)

https://en.wikipedia.org/wiki/Diorama_(Silverchair_album)

87f0be0908909262020cc1834d5b15af39ced93c

What two movements did the man who taught a variety of positions help influence toward the end of his life?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

d19f52c9d63573151aa37263576f3432a26f6c3b

What is the name of the foundation created in 2014 for the man who inspired important figures in the Bauhaus movement?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

43c318fbdf820c9bbe282ba3d081b976b11d240b

What organization collaborated with the artist's heirs to create a foundation to preserve the work of the man who created a Soviet propaganda poster in 1941?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

ddf983cc92287e8a5847e36e24fce2d8184caf5c

What city was the man who was an important figure of Russian avant-garde serve as a cultural ambassador to?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

734ee52a09cf016325c0b66b016bee748df25a7c

What suprematist art group did the man who helped designed numerous exhibition displays?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

4858a00d64dcb33e01cb266ef4ef3b06ace8ff3b

What is the first name of the person who was an important figure of the Russian avant-garde?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

e7f206c7c92a5bdcc1a884a9eaa462200c0632c3

What is the first name of the person who developed suprematism with his mentor

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

1b846fc1ec19f95599010051d08a09f07070da23

What is the first name of the person who was mentored by Malevich?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

1a957e71f0c8db67fee196f8282138640463f4a9

What is the first name of the person who designed numerous exhibition displays and propaganda works for the Soviet Union?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

ae129369a4991bd86f98e16d0f9c32f968ab0af0

What was the last name of the person who was an important figure of the Russian avant-garde?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

48360fb660f026ed042f144f6c499501a1c2bf17

What is the last name of the person who helped develop suprematism with his mentor?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky

3928b0759f25938d616cb6ed322da77c8bcd4423

What is the last name of the person who designed numerous exhibition displays and propaganda works for the Soviet Union?

Lazar Markovich Lissitzky (Russian: Ла́зарь Ма́ркович Лиси́цкий, listen ; November 23 [O.S. November 11] 1890 – December 30, 1941), known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי‎), 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 zielbewußte Schaffen" (goal-oriented creation). Lissitzky, of Lithuanian Jewish оrigin, 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 collaboration with Van Abbemuseum and leading worldwide scholars on the subject, the Lissitzky Foundation was established in order to preserve the artist's legacy and to prepare a catalogue raisonné of the artist's oeuvre.

El Lissitzky

https://en.wikipedia.org/wiki/El_Lissitzky