romikgosai/squad_modified_2 huggingface dataset:
Romanesque architecture in Germany, Poland, the Czech Lands and Austria is characterised by its massive and modular nature. This is expressed in the Gothic architecture of Central Europe in the huge size of the towers and spires, often projected, but not always completed. The west front generally follows the French formula, but the towers are very much taller and, if complete, are surmounted by enormous openwork spires that are a regional feature. Because of the size of the towers, the section of the façade between them may appear narrow and compressed. The eastern end follows the French form. The distinctive character of the interior of German Gothic cathedrals is their breadth and openness. This is the case even when, as at Cologne, they have been modelled upon a French cathedral. German cathedrals, like the French, tend not to have strongly projecting transepts. There are also many hall churches (Hallenkirchen) without clerestory windows.

Q1: In Germany, Poland and Austria Romanesque architecture is defined by its massive size and what other design element?
A1: modular nature
Q2: What design style does Romanesque architecture in Germany, Poland, and Austria normally follow?
A2: the French formula
Q3: What does the eastern end of German Romanesque cathedrals typically emulate?
A3: follows the French form
Q4: What is the distinguishing design element in German Gothic cathedrals?
A4: their breadth and openness
Q5: What are hall churches in German cathedrals known as?
A5: Hallenkirchen
The distinctive characteristic of Gothic cathedrals of the Iberian Peninsula is their spatial complexity, with many areas of different shapes leading from each other. They are comparatively wide, and often have very tall arcades surmounted by low clerestories, giving a similar spacious appearance to the 'Hallenkirche of Germany, as at the Church of the Batalha Monastery in Portugal. Many of the cathedrals are completely surrounded by chapels. Like English cathedrals, each is often stylistically diverse. This expresses itself both in the addition of chapels and in the application of decorative details drawn from different sources. Among the influences on both decoration and form are Islamic architecture and, towards the end of the period, Renaissance details combined with the Gothic in a distinctive manner. The West front, as at Leon Cathedral, typically resembles a French west front, but wider in proportion to height and often with greater diversity of detail and a combination of intricate ornament with broad plain surfaces. At Burgos Cathedral there are spires of German style. The roofline often has pierced parapets with comparatively few pinnacles. There are often towers and domes of a great variety of shapes and structural invention rising above the roof.

Q1: What is the distinctive design element of Gothic cathedrals of the Iberian Peninsula?
A1: their spatial complexity
Q2: What size are the arcades of Gothic cathedrals of the Iberian Peninsula?
A2: very tall arcades
Q3: What type of architecture is a prominent influence on the design and form of Gothic cathedrals from the Iberian Peninsula?
A3: Islamic architecture
Q4: What type of West front does the Leon Cathedral resemble?
A4: a French west front
Q5: What style are the spires at Burgos Cathedral?
A5: German style
The distinctive characteristic of Italian Gothic is the use of polychrome decoration, both externally as marble veneer on the brick façade and also internally where the arches are often made of alternating black and white segments, and where the columns may be painted red, the walls decorated with frescoes and the apse with mosaic. The plan is usually regular and symmetrical, Italian cathedrals have few and widely spaced columns. The proportions are generally mathematically equilibrated, based on the square and the concept of "armonìa", and except in Venice where they loved flamboyant arches, the arches are almost always equilateral. Colours and moldings define the architectural units rather than blending them. Italian cathedral façades are often polychrome and may include mosaics in the lunettes over the doors. The façades have projecting open porches and occular or wheel windows rather than roses, and do not usually have a tower. The crossing is usually surmounted by a dome. There is often a free-standing tower and baptistry. The eastern end usually has an apse of comparatively low projection. The windows are not as large as in northern Europe and, although stained glass windows are often found, the favourite narrative medium for the interior is the fresco.

Q1: What is the unique characteristic of Italian Gothic design?
A1: the use of polychrome decoration
Q2: What color are the columns of Italian Gothic cathedrals often painted?
A2: the columns may be painted red
Q3: What type of arches do they love to use in Venice?
A3: they loved flamboyant arches
Q4: Instead of rose windows, what type of windows do Italian cathedral facades usually feature?
A4: occular or wheel windows
Q5: What is the preferred narrative medium for the interior of Italian cathedrals?
A5: the fresco
The Palais des Papes in Avignon is the best complete large royal palace, alongside the Royal palace of Olite, built during the 13th and 14th centuries for the kings of Navarre. The Malbork Castle built for the master of the Teutonic order is an example of Brick Gothic architecture. Partial survivals of former royal residences include the Doge's Palace of Venice, the Palau de la Generalitat in Barcelona, built in the 15th century for the kings of Aragon, or the famous Conciergerie, former palace of the kings of France, in Paris.

Q1: Who was the Royal palace of Olite built for?
A1: the kings of Navarre
Q2: Who was the Malbork Castle built for?
A2: the master of the Teutonic order
Q3: What type of Gothic architecture is the Malbork Castle an example of?
A3: Brick Gothic architecture
Q4: What is the name of the royal residence built for the kings of France in Paris?
A4: the famous Conciergerie
Q5: When was the Palau de la Generalitat in Barcelona constructed?
A5: built in the 15th century
Secular Gothic architecture can also be found in a number of public buildings such as town halls, universities, markets or hospitals. The Gdańsk, Wrocław and Stralsund town halls are remarkable examples of northern Brick Gothic built in the late 14th centuries. The Belfry of Bruges or Brussels Town Hall, built during the 15th century, are associated to the increasing wealth and power of the bourgeoisie in the late Middle Ages; by the 15th century, the traders of the trade cities of Burgundy had acquired such wealth and influence that they could afford to express their power by funding lavishly decorated buildings of vast proportions. This kind of expressions of secular and economic power are also found in other late mediaeval commercial cities, including the Llotja de la Seda of Valencia, Spain, a purpose built silk exchange dating from the 15th century, in the partial remains of Westminster Hall in the Houses of Parliament in London, or the Palazzo Pubblico in Siena, Italy, a 13th-century town hall built to host the offices of the then prosperous republic of Siena. Other Italian cities such as Florence (Palazzo Vecchio), Mantua or Venice also host remarkable examples of secular public architecture.

Q1: What is an example of secular Northern Brick Gothic architecture from the 14th century?
A1: Stralsund town halls
Q2: When was Brussels Town Hall built?
A2: built during the 15th century
Q3: What is the name of the secular building in Spain which was constructed for the purpose of silk exchange?
A3: the Llotja de la Seda of Valencia
Q4: What is the name of the 13th-century town hall constructed to host the offices of the republic of Siena?
A4: the Palazzo Pubblico
Q5: Impressive public secular architecture can also be found in what other Italian city?
A5: Florence
By the late Middle Ages university towns had grown in wealth and importance as well, and this was reflected in the buildings of some of Europe's ancient universities. Particularly remarkable examples still standing nowadays include the Collegio di Spagna in the University of Bologna, built during the 14th and 15th centuries; the Collegium Carolinum of the University of Prague in Bohemia; the Escuelas mayores of the University of Salamanca in Spain; the chapel of King's College, Cambridge; or the Collegium Maius of the Jagiellonian University in Kraków, Poland.

Q1: In what era had university towns grown in wealth and importance?
A1: the late Middle Ages
Q2: What is the name of the university building in Bologna, built in the 14th and 15th centuries?
A2: the Collegio di Spagna
Q3: What is the name of the building at University of Prague in Bohemia?
A3: the Collegium Carolinum
Q4: What is the name of the secular building at the University of Salamanca in Spain?
A4: the Escuelas mayores
Q5: What is the name of the secular building at the Jagiellonian University in Kraków, Poland?
A5: the Collegium Maius
Other cities with a concentration of secular Gothic include Bruges and Siena. Most surviving small secular buildings are relatively plain and straightforward; most windows are flat-topped with mullions, with pointed arches and vaulted ceilings often only found at a few focal points. The country-houses of the nobility were slow to abandon the appearance of being a castle, even in parts of Europe, like England, where defence had ceased to be a real concern. The living and working parts of many monastic buildings survive, for example at Mont Saint-Michel.

Q1: What is one city with an accumulation of secular Gothic structures?
A1: Bruges
Q2: What is another city with an accumulation of secular Gothic structures?
A2: Siena
Q3: What style are most windows on secular Gothic structures?
A3: flat-topped with mullions
Q4: Where are pointed arches and vaulted ceilings found on most secular Gothic structures?
A4: a few focal points
Q5: What is the name of the surviving monastic building in England?
A5: Mont Saint-Michel
In 1663 at the Archbishop of Canterbury's residence, Lambeth Palace, a Gothic hammerbeam roof was built to replace that destroyed when the building was sacked during the English Civil War. Also in the late 17th century, some discrete Gothic details appeared on new construction at Oxford University and Cambridge University, notably on Tom Tower at Christ Church, Oxford, by Christopher Wren. It is not easy to decide whether these instances were Gothic survival or early appearances of Gothic revival.

Q1: What is the name of the Archbishop of Canterbury's residence?
A1: Lambeth Palace
Q2: In what year was a Gothic hammerbeam roof installed on the Archbishop of Canterbury's residence?
A2: In 1663
Q3: In what century were distinct Gothic details used on new construction at Oxford and Cambridge?
A3: the late 17th century
Q4: Who used Gothic details in construction of Tom Tower, Oxford?
A4: Christopher Wren
In England, partly in response to a philosophy propounded by the Oxford Movement and others associated with the emerging revival of 'high church' or Anglo-Catholic ideas during the second quarter of the 19th century, neo-Gothic began to become promoted by influential establishment figures as the preferred style for ecclesiastical, civic and institutional architecture. The appeal of this Gothic revival (which after 1837, in Britain, is sometimes termed Victorian Gothic), gradually widened to encompass "low church" as well as "high church" clients. This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.

Q1: When was neo-Gothic popularized by influential figures?
A1: during the second quarter of the 19th century
Q2: In Britain after 1837, what was the Gothic revival known as?
A2: Victorian Gothic
Q3: During what years was the High Victorian Gothic period in Britain?
A3: 1855–1885
Q4: What movement was responsible for the philosophy which led to the revival of Anglo Catholic ideas?
A4: the Oxford Movement
Q5: Besides ecclesiastical and civic architecture, what other style of architecture did influential figures of the 19th century prefer to use Victorian Gothic for?
A5: institutional architecture
The Houses of Parliament in London by Sir Charles Barry with interiors by a major exponent of the early Gothic Revival, Augustus Welby Pugin, is an example of the Gothic revival style from its earlier period in the second quarter of the 19th century. Examples from the High Victorian Gothic period include George Gilbert Scott's design for the Albert Memorial in London, and William Butterfield's chapel at Keble College, Oxford. From the second half of the 19th century onwards it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types. Gothic details even began to appear in working-class housing schemes subsidised by philanthropy, though given the expense, less frequently than in the design of upper and middle-class housing.

Q1: Who was the exterior architect of the Houses of Parliament?
A1: Sir Charles Barry
Q2: Who was the interior architect of the Houses of Parliament?
A2: Augustus Welby Pugin
Q3: What style of architecture does the Houses of Parliament exemplify?
A3: the Gothic revival style
Q4: Who designed the Albert Memorial in London?
A4: George Gilbert Scott
Q5: Who designed the chapel at Keble College, Oxford?
A5: William Butterfield
In France, simultaneously, the towering figure of the Gothic Revival was Eugène Viollet-le-Duc, who outdid historical Gothic constructions to create a Gothic as it ought to have been, notably at the fortified city of Carcassonne in the south of France and in some richly fortified keeps for industrial magnates. Viollet-le-Duc compiled and coordinated an Encyclopédie médiévale that was a rich repertory his contemporaries mined for architectural details. He effected vigorous restoration of crumbling detail of French cathedrals, including the Abbey of Saint-Denis and famously at Notre Dame de Paris, where many of whose most "Gothic" gargoyles are Viollet-le-Duc's. He taught a generation of reform-Gothic designers and showed how to apply Gothic style to modern structural materials, especially cast iron.

Q1: Who was the main figure of the Gothic Revival in France?
A1: Eugène Viollet-le-Duc
Q2: What famous French cathedral was restored and reconstructed by Viollet-le-Duc?
A2: the Abbey of Saint-Denis
Q3: What modern building material did Viollet-le-Duc teach reform Gothic designers to work with?
A3: cast iron
Q4: In what fortified city in Southern France did Viollet-le-Duc recreate historical Gothic constructions?
A4: Carcassonne
Q5: What other famous French cathedral did Viollet-le-Duc work on?
A5: Notre Dame de Paris
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.

Q1: Name the 8 peopl who began the movement
A1: Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris.
Q2: Which person  was the most influential in beginning the movement with is three dimensional forms?
A2: Paul Cézanne
Q3: What year's were Cezannes painting's displayed at Salon d'Automne? Not including the retrospectives.
A3: 1905 and 1906
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Q1: What were the three offshoots of Cubism formed in France?
A1: Orphism, Abstract art and later Purism
Q2: What were the other offshoots formed in countries other than France?
A2: Futurism, Suprematism, Dada, Constructivism and De Stijl
Q3: Which offshoot had little in common with Cubism?
A3: Futurist
Q4: Which offshoot of cubism was influenced by Picasso?
A4: Constructivism
Cubism began between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Georges Braque's 1908 Houses at L’Estaque (and related works) prompted the critic Louis Vauxcelles to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

Q1: Between what years did cubism begin?
A1: 1907 and 1911
Q2: In the spring of what year did the first organized exhibition by cubist appear?
A2: 1911
Q3: What was the name of the room that the first exhibition of Cubists took place?
A3: Salle 41
Q4: Who mentioned the landscapes made by Picasso in the first Cubist paintings?
A4: Gertrude Stein
Q5: In what city did the first exhibition of Cubists take place?
A5: Paris
Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

Q1: What was the first phase of Cubism known as?
A1: Analytic Cubism
Q2: Who coined the phrase Analytic Cubsim?
A2: Juan Gris
Q3: What was the second phase of Cubism called?
A3: Synthetic Cubism
Q4: From what years did High Cubism take place?
A4: 1909 to 1914
Q5: From what years did Late Cubism take place?
A5: 1914 to 1921
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."

Q1: Who asserted that the flat canvas supported Cubism?
A1: Daniel-Henry Kahnweiler
Q2: In what year was the assertion made that the flat canvas supported Cubism?
A2: early as 1920
Q3: When was the assertion that the flat canvas supported Cubism put into debate?
A3: 1950s and 1960s,
Q4: Who was the main opponent that began to argue that the flat canvas did not support Cubism?
A4: Clement Greenberg.
Q5: Who's work undermined Douglass  Coopers terms describing Cubism?
A5: 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.

Q1: Which artists in the early 19th and 20th century inspired by the newly discovered African, Native American, Micro and Polynesian art?
A1: Paul Gauguin, Henri Matisse, and Pablo Picasso
Q2: What about the Native cultures art inspired Matisse, Picasso, and Gauguin?
A2: stark power and simplicity
Q3: Who did Picasso meet around 1906 that had also recenelty learned about Primitivism?
A3: Gertrude Stein,
Q4: What were Picasso's 1907 paintings usually characterized by?
A4: 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."

Q1: Which two artists did Douglass Cooper say were very important to the forming of Cubism?
A1: Paul Gauguin and Paul Cézanne
Q2: What does Cooper say is the first  Cubist picture?
A2: The Demoiselles
Q3: Is it true that the first Cubist picture is The Demoiselles?
A3: although it was a major first step towards Cubism it is not yet Cubist.