yz2022/T2P-DownstreamNLP huggingface dataset:
Cubism

This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Question: Which of Gliezes pieces was featured at Salon de la Section d'Or? 
Answer: Le Dépiquage des Moissons (Harvest Threshing)
Cubism

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.

Question:  Was Duchamp's work considered controversial when displayed in 1912?
Answer: caused a scandal
Cubism

This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Question: What did the technique in Gliezes' piece Le Depiquage represent?
Answer: relative motion)
Cubism

The influence of cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing.

Question: Who's written works used repitition that was similar to Cubist art?
Answer: Gertrude Stein

Question: What was Gertrude Stein's brother's name?
Answer: Leo

Question: What was the title of Gertrude Stein's 1906-1908 book?
Answer: The Making of Americans
Cubism

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909–10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912–13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Question: What Douglas Cooper call Picasso's 1909 Cubist sculpture?
Answer: The first true Cubist sculpture

Question: Which  Alexander Archipenko piece was similar to other Cubist scupltures of that time?
Answer: Woman Walking

Question: What was the name of the 1909 Cubist sculpture Picassos created?
Answer: Head of a Woman
Cubism

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.

Question: What were one of  Metzingers two showings in 1912's Salon des Independants? 
Answer: La Femme au Cheval (Woman with a horse) 1911-1912
Cubism

This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or, Le Fauconnier’s Abundance shown at the Indépendants of 1911, and Delaunay's City of Paris, shown at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger’s The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Question: Who painted the Wedding, show at Salon des Independants in 1912?
Answer: Léger
Cubism

Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.

Question: The ideas of which Cubo Futurist influenced the avant-garde in architecture?
Answer: Filippo Tommaso Marinetti

Question: Who developed Neo Plasticism? 
Answer: Piet Mondrian

Question: Who linked De Stijl to Cubist theory? 
Answer: Gino Severini
Cubism

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."

Question: Who asserted that the flat canvas supported Cubism? 
Answer: Daniel-Henry Kahnweiler
Cubism

Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application—which had been prefigured by Marcel Duchamp from 1914—was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.

Question: The De Stijl movement took part in the aesthetic principles of what?
Answer: Neo-plasticism

Question: Who did Le Corbusier open his Paris studio with in 1922?
Answer: his cousin Jeanneret
Cubism

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."

Question: In what year was the assertion made that the flat canvas supported Cubism?
Answer: early as 1920

Question: When was the assertion that the flat canvas supported Cubism put into debate?
Answer: 1950s and 1960s,
Cubism

The reemergence of Cubism coincided with the appearance from about 1917–24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism—figurative work either exclusively or alongside Cubist work—experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.

Question: In 1918 which way did the French idealogies shift that effected Cubism?
Answer: conservatism
Political_philosophy

Indian political philosophy evolved in ancient times and demarcated a clear distinction between (1) nation and state (2) religion and state. The constitutions of Hindu states evolved over time and were based on political and legal treatises and prevalent social institutions. The institutions of state were broadly divided into governance, administration, defense, law and order. Mantranga, the principal governing body of these states, consisted of the King, Prime Minister, Commander in chief of army, Chief Priest of the King. The Prime Minister headed the committee of ministers along with head of executive (Maha Amatya).

Question: What demarcates a clear distinction between nation and state, as well as religion and state?
Answer: Indian political philosophy
Cubism

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."

Question: Who was the main opponent that began to argue that the flat canvas did not support Cubism? 
Answer: Clement Greenberg.

Question: Who's work undermined Douglass  Coopers terms describing Cubism?
Answer: Picasso, Braque, Gris and Léger
Political_philosophy

Indian political philosophy evolved in ancient times and demarcated a clear distinction between (1) nation and state (2) religion and state. The constitutions of Hindu states evolved over time and were based on political and legal treatises and prevalent social institutions. The institutions of state were broadly divided into governance, administration, defense, law and order. Mantranga, the principal governing body of these states, consisted of the King, Prime Minister, Commander in chief of army, Chief Priest of the King. The Prime Minister headed the committee of ministers along with head of executive (Maha Amatya).

Question: What was divided into governance, administration, defense, law and  order?
Answer: The institutions of state

Question: What was the governing body of the Hindu states?
Answer: Mantranga
Political_philosophy

The early Christian philosophy of Augustine of Hippo was heavily influenced by Plato. A key change brought about by Christian thought was the moderatation of the Stoicism and theory of justice of the Roman world, as well emphasis on the role of the state in applying mercy as a moral example. Augustine also preached that one was not a member of his or her city, but was either a citizen of the City of God (Civitas Dei) or the City of Man (Civitas Terrena). Augustine's City of God is an influential work of this period that attacked the thesis, held by many Christian Romans, that the Christian view could be realized on Earth.

Question: Who heavily influenced the early Christian philosophy of Augustine of Hippo?
Answer: Plato

Question: What was a key change brought about by Christian thought?
Answer: the moderatation of the Stoicism
Cubism

At the 1912 Salon d'Automne an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), signed Raymond Duchamp-Villon and André Mare along with a group of collaborators. Metzinger and Gleizes in Du "Cubisme", written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...". "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", writes Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye". La Maison Cubiste was a fully furnished house, with a staircase, wrought iron banisters, a living room—the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger (Woman with a Fan), Gleizes, Laurencin and Léger were hung—and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the full-scale 10-by-3-meter plaster model of the ground floor of the facade, designed by Duchamp-Villon. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" (Façade architecturale).

Question: How big was the model of La Maison Cubiste? 
Answer: 10-by-3-meter

Question: What was La Maison Cubiste ?
Answer: a fully furnished house

Question: Which Metzinger piece was hung in La Maison Cubiste?
Answer: Woman with a Fan
Political_philosophy

Chinese political philosophy dates back to the Spring and Autumn Period, specifically with Confucius in the 6th century BC. Chinese political philosophy was developed as a response to the social and political breakdown of the country characteristic of the Spring and Autumn Period and the Warring States period. The major philosophies during the period, Confucianism, Legalism, Mohism, Agrarianism and Taoism, each had a political aspect to their philosophical schools. Philosophers such as Confucius, Mencius, and Mozi, focused on political unity and political stability as the basis of their political philosophies. Confucianism advocated a hierarchical, meritocratic government based on empathy, loyalty, and interpersonal relationships. Legalism advocated a highly authoritarian government based on draconian punishments and laws. Mohism advocated a communal, decentralized government centered on frugality and ascetism. The Agrarians advocated a peasant utopian communalism and egalitarianism. Taoism advocated a proto-anarchism. Legalism was the dominant political philosophy of the Qin Dynasty, but was replaced by State Confucianism in the Han Dynasty. Prior to China's adoption of communism, State Confucianism remained the dominant political philosophy of China up to the 20th century.

Question: What specifically dates back with Confucius in the 6th century BC?
Answer: Chinese political philosophy

Question: Chinese political philosophy dates back to what century?
Answer: 6th century BC
Political_philosophy

The early Christian philosophy of Augustine of Hippo was heavily influenced by Plato. A key change brought about by Christian thought was the moderatation of the Stoicism and theory of justice of the Roman world, as well emphasis on the role of the state in applying mercy as a moral example. Augustine also preached that one was not a member of his or her city, but was either a citizen of the City of God (Civitas Dei) or the City of Man (Civitas Terrena). Augustine's City of God is an influential work of this period that attacked the thesis, held by many Christian Romans, that the Christian view could be realized on Earth.

Question: Who also preached that one was not a member of his or her city?
Answer: Augustine