romikgosai/squad_modified huggingface dataset:
The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."

Questions and answers:
['
Q: Who asserted that the flat canvas supported Cubism? 
A: Daniel-Henry Kahnweiler', '
Q: In what year was the assertion made that the flat canvas supported Cubism?
A: early as 1920', '
Q: When was the assertion that the flat canvas supported Cubism put into debate?
A: 1950s and 1960s,', '
Q: Who was the main opponent that began to argue that the flat canvas did not support Cubism? 
A: Clement Greenberg.', "
Q: Who's work undermined Douglass  Coopers terms describing Cubism?
A: Picasso, Braque, Gris and Léger"]
During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.

Questions and answers:
['
Q: Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art?
A: Paul Gauguin, Henri Matisse, and Pablo Picasso', '
Q: What about the Native cultures art inspired Matisse, Picasso, and Gauguin?
A: stark power and simplicity', '
Q: Who did Picasso meet around 1906 that had also recenelty learned about Primitivism? 
A: Gertrude Stein,', "
Q: What were Picasso's 1907 paintings usually characterized by? 
A: Protocubism"]
The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."

Questions and answers:
['
Q: Which two artists did Douglass Cooper say were very important to the forming of Cubism?
A: Paul Gauguin and Paul Cézanne', '
Q: What does Cooper say is the first  Cubist picture? 
A: The Demoiselles', '
Q: Is it true that the first Cubist picture is The Demoiselles? 
A: although it was a major first step towards Cubism it is not yet Cubist.']
The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, Holland, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, Le Chahut and Le Cirque), was another important influence. There were also parallels in the development of literature and social thought.

Questions and answers:
['
Q: What did Daniel Robbins say about Demoiselles being the beginning of Cubism?
A: such deductions are unhistorical', '
Q: During which years did the conscious begin to look for a new style in Germany, Italy, Russia, and Holland?
A: 1905 and 1908,', '
Q: Which impressionist movements were also influenced by Cubism?
A: Les Nabis and the Symbolists', '
Q: Which technique did the Impressionists use to make their subjects simple forms?
A: double point of view']
In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.

Questions and answers:
["
Q: Besides Seurat where else are the beginnigs of Cubism found?
A: in the two distinct tendencies of Cézanne's later work", '
Q: Cubists exploration of the concept of the simplification of forms into cones cylinders and spheres was further explored by whom?
A: Cézanne', '
Q: Cubism revolutionized the way things could be seen in art how? 
A: all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time.']
The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."

Questions and answers:
['
Q: When did the historical study of Cubism begin?
A: in the late 1920s', "
Q: On who's opinions were the beginnings of the this historical study of Cubism based?
A: Guillaume Apollinaire", "
Q: On which book and who was the author was one of the main sources of the historical study of Cubism based?
A: Daniel-Henry Kahnweiler's book Der Weg zum Kubismus"]
The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question their right to be called Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."

Questions and answers:
["
Q: Understanding who's work was the tradition meaning of Cubism formed on?
A: Braque and Picasso", "
Q: Who suggested that the artists other than Braque and Picasso's relgation to a distant role in Cubism was a mistake?
A: Daniel Robbins", '
Q: What other painters were not thought of as being as Cubist as Braque and Picasso?
A: Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier']
The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published Du "Cubisme" in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

Questions and answers:
['
Q: What year did the term Cubism become used more?
A: 1911', '
Q: Which poet critic in 1911 with a group of poets accepted the term Cubism? 
A: Guillaume Apollinaire', '
Q: The artists of Passy included which two people?
A: Picabia and the Duchamp brothers']
There was a distinct difference between Kahnweiler’s Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.

Questions and answers:
['
Q: Where did Picassos work until 1912? 
A: Montmartre', '
Q: Where did Braque and Gris stay until the end of the World War I?
A: Montmartre', '
Q: Where was Leger based around 1912? 
A: Montparnasse']
In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the Boulevard de Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Questions and answers:
["
Q: Which four people usually met at Fauconnier's studio in 1910?
A: Metzinger, Gleizes, Delaunay and Léger", "
Q: Where was Fauconnier's studio located? 
A: Boulevard de Montparnasse", "
Q: What did the group meeting at Fauconnier's studio want to focus on?
A: research into form, in opposition to the Neo-Impressionist emphasis on color."]
At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

Questions and answers:
["
Q: In what year did the New York Times review the Salon d'Automne?
A: October 8, 1911", '
Q: What was the subtitle of the article published in 1911 in New York TImes about Cubism?
A: Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do', "
Q: List the artists who were featured in the Salon d'Automne? 
A: André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka"]
The subsequent 1912 Salon des Indépendants was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 (National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris) were also exhibited.

Questions and answers:
['
Q: Which Duchamp presentation was displayed in the 1912 Salon des Independants?
A: Nude Descending a Staircase, No. 2', "
Q:  Was Duchamp's work considered controversial when displayed in 1912?
A: caused a scandal", "
Q: What were one of  Metzingers two showings in 1912's Salon des Independants? 
A: La Femme au Cheval (Woman with a horse) 1911-1912"]
The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

Questions and answers:
['
Q: Which politician made the front page of Le Journa in 1912 for his indignation? 
A: Jean Pierre Philippe Lampué', '
Q: Who defended the Cubists in the controversy of 1912?
A: Socialist deputy, Marcel Sembat.', "
Q: Towards which social topic did the Cubists  at the Salon d'Automne creat contrevesy towards? 
A: the use of government owned buildings,"]
It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote Du "Cubisme" (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source, The Spring (Museum of Modern Art, New York).

Questions and answers:
['
Q: What against did Metzinger and Gleizes write Du "Cubsime"? 
A: public anger', '
Q: Who published Du "Cubisme"?
A: Eugène Figuière', '
Q: In what year was  Du "Cubisme" published? 
A: 1912']
The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka’s two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913–14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

Questions and answers:
["
Q: What were Kupka's two entries at the Salon d'Automne? 
A: Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude", "
Q: What were the titles of Delaunay's paintings in 1912? 
A: Simultaneous Windows,", '
Q: During what years did  Leger produce Contrasts of Forms? 
A: 1913–14']
Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

Questions and answers:
['
Q: By whom was Marcel Duchamp labeled an Orphanist? 
A: Apollinaire', '
Q: What two items did Duchamp attach together in 1913? 
A: a bicycle wheel to a kitchen stool', '
Q: What object did Duchamp select in 1914 as a scuplture by itself? 
A: bottle-drying rack']
The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.

Questions and answers:
["
Q: How many works displayed at The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912?
A: Over 200"]
The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that Du "Cubisme" had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal: a new avant-garde movement.

Questions and answers:
["
Q: What did the 1912 exhiibtion of Cubism show?
A: indicates the artists' intention of making their work comprehensible to a wide audience"]
The Cubism of Picasso, Braque and Gris had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects—the posed model, still-life and landscape—favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

Questions and answers:
['
Q: What did Christopher Green say of the difference between traditional cubist and Salon Cubists?
A: It is by no means clear, in any case', '
Q: Whom did Braque and Picasso aim their works at? 
A: large public']