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79b35ecedd91fa5204fe8e149a9dbfc361b00112 | What were the two flights that an NTSB officer was sent to O'Hare Airport to investigate a collision between? | Eric Stoltz plays John Dantley, an NTSB officer sent to O'Hare Airport in Chicago to investigate a collision between Global Airlines Flight 1025 (a Boeing 757-200 from Los Angeles to Washington D.C.) and PDO Cargo flight 342 (a Boeing 727-200F flying westbound cargo plane), where 185 people are killed.
Charles Martin Smith plays Henry Drake, an air traffic controller who insists his radar system malfunctioned when the planes were being cleared for landing. When the rest of air traffic control dismiss Drake and blame the incident on human error, Dantley must discover the truth about the crash: Was Drake — a high-strung individual who already didn't get along with his co-workers — simply incompetent at his job or did Drake's co-workers and superiors know about and/or had been previously been warned about the aging radar system showing signs of seriously malfunctioning and crashing at critical times (and thus liable to lead to deadly situations such as the one that happened), but instead of taking action ignored the warnings and initiated a cover-up? | Blackout Effect | https://en.wikipedia.org/wiki/Blackout_Effect | {
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"text": [
"Global Airlines Flight 1025",
"PDO Cargo flight 342"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What were the two flights that an NTSB officer was sent to O'Hare Airport to investigate a collision between?, using the article: Eric Stoltz plays John Dantley, an NTSB officer sent to O'Hare Airport in Chicago to investigate a collision between Global Airlines Flight 1025 (a Boeing 757-200 from Los Angeles to Washington D.C.) and PDO Cargo flight 342 (a Boeing 727-200F flying westbound cargo plane), where 185 people are killed.
Charles Martin Smith plays Henry Drake, an air traffic controller who insists his radar system malfunctioned when the planes were being cleared for landing. When the rest of air traffic control dismiss Drake and blame the incident on human error, Dantley must discover the truth about the crash: Was Drake — a high-strung individual who already didn't get along with his co-workers — simply incompetent at his job or did Drake's co-workers and superiors know about and/or had been previously been warned about the aging radar system showing signs of seriously malfunctioning and crashing at critical times (and thus liable to lead to deadly situations such as the one that happened), but instead of taking action ignored the warnings and initiated a cover-up?, what would be the answer ? | Global Airlines Flight 1025 |
d8610835f59ff28a577a573af844d6574b4aff34 | What is the full name of the person who didn't get along with his co-workers? | Eric Stoltz plays John Dantley, an NTSB officer sent to O'Hare Airport in Chicago to investigate a collision between Global Airlines Flight 1025 (a Boeing 757-200 from Los Angeles to Washington D.C.) and PDO Cargo flight 342 (a Boeing 727-200F flying westbound cargo plane), where 185 people are killed.
Charles Martin Smith plays Henry Drake, an air traffic controller who insists his radar system malfunctioned when the planes were being cleared for landing. When the rest of air traffic control dismiss Drake and blame the incident on human error, Dantley must discover the truth about the crash: Was Drake — a high-strung individual who already didn't get along with his co-workers — simply incompetent at his job or did Drake's co-workers and superiors know about and/or had been previously been warned about the aging radar system showing signs of seriously malfunctioning and crashing at critical times (and thus liable to lead to deadly situations such as the one that happened), but instead of taking action ignored the warnings and initiated a cover-up? | Blackout Effect | https://en.wikipedia.org/wiki/Blackout_Effect | {
"answer_start": [
331
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"text": [
"Henry Drake"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who didn't get along with his co-workers?, using the article: Eric Stoltz plays John Dantley, an NTSB officer sent to O'Hare Airport in Chicago to investigate a collision between Global Airlines Flight 1025 (a Boeing 757-200 from Los Angeles to Washington D.C.) and PDO Cargo flight 342 (a Boeing 727-200F flying westbound cargo plane), where 185 people are killed.
Charles Martin Smith plays Henry Drake, an air traffic controller who insists his radar system malfunctioned when the planes were being cleared for landing. When the rest of air traffic control dismiss Drake and blame the incident on human error, Dantley must discover the truth about the crash: Was Drake — a high-strung individual who already didn't get along with his co-workers — simply incompetent at his job or did Drake's co-workers and superiors know about and/or had been previously been warned about the aging radar system showing signs of seriously malfunctioning and crashing at critical times (and thus liable to lead to deadly situations such as the one that happened), but instead of taking action ignored the warnings and initiated a cover-up?, what would be the answer ? | Henry Drake |
c2df28445de84aa2ebb5e7ac728ffdfea1661eb5 | What are the full names of the characters who go to the meeting of the Royal Order of European Man Whores? | Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients. | Deuce Bigalow: European Gigolo | https://en.wikipedia.org/wiki/Deuce_Bigalow:_European_Gigolo | {
"answer_start": [
70,
166
],
"text": [
"Deuce Bigalow",
"T.J. Hicks"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the full names of the characters who go to the meeting of the Royal Order of European Man Whores?, using the article: Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients., what would be the answer ? | T.J. Hicks |
03d1653f99003f8ee9413af02476d96cf9737888 | What is the full name of the character whose dick Deuce's former pimp wants to look at? | Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients. | Deuce Bigalow: European Gigolo | https://en.wikipedia.org/wiki/Deuce_Bigalow:_European_Gigolo | {
"answer_start": [
345
],
"text": [
"Heinz Hummer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the character whose dick Deuce's former pimp wants to look at?, using the article: Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients., what would be the answer ? | Heinz Hummer |
9c07311db4adfc12962ed2ded12fc7c9a2e9defc | What is the name of the character who doubts to validity of rumors about the size of a dead guy's dick? | Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients. | Deuce Bigalow: European Gigolo | https://en.wikipedia.org/wiki/Deuce_Bigalow:_European_Gigolo | {
"answer_start": [
166
],
"text": [
"T.J. Hicks"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the character who doubts to validity of rumors about the size of a dead guy's dick?, using the article: Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients., what would be the answer ? | T.J. Hicks |
bf9772bc18d369344e42ddd343832ef8553f4ed6 | What is the first name of the person that finds the German gigolo's body? | Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients. | Deuce Bigalow: European Gigolo | https://en.wikipedia.org/wiki/Deuce_Bigalow:_European_Gigolo | {
"answer_start": [
407
],
"text": [
"Deuce"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person that finds the German gigolo's body?, using the article: Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients., what would be the answer ? | Deuce |
c8fa53f5a1fcc3f203c0904174520cbeed95be3d | What is the name of the person that the gigolo visits after the death of his wife? | Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients. | Deuce Bigalow: European Gigolo | https://en.wikipedia.org/wiki/Deuce_Bigalow:_European_Gigolo | {
"answer_start": [
166
],
"text": [
"T.J. Hicks"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the person that the gigolo visits after the death of his wife?, using the article: Gigolos in Europe are being terrorized by a serial killer. In Malibu, Deuce Bigalow's wife Kate has died from a shark attack, and Deuce is invited by his former pimp T.J. Hicks to Amsterdam. Deuce goes to take his mind off of Kate.
After T.J. shows Deuce his boat, or "float crib," the pair go to a coffee shop where they get high and bump into Heinz Hummer, a German gigolo. After leaving the coffee shop, Deuce finds Hummer dead in an alley, but thinks he is merely stoned and takes the dead gigolo to T.J.'s float crib; when T.J. gets back, he immediately realizes that Hummer is dead. T.J. plans to dump the body, but skeptical of Hummer's reputation of being well-endowed, unzips his pants and examines his genitalia and is caught by a tour boat.
Upon his release from the police station, Deuce finds T.J. at a restaurant and recalls that he saw the killer walking away from Hummer's body. Deuce says it was a woman, so they both figure it was a she-john, a former client of the murdered gigolo. T.J. convinces Deuce to find the killer by becoming a gigolo again, visiting the former clients and "rooting" out the killer. They attend a meeting of the Royal Order of European Man Whores, but fail to procure a list of the clients., what would be the answer ? | T.J. Hicks |
5a9e35221a47a8afe4190ad0fa1ae63234cb4299 | Whose portraits are described as unflinching records of the effects of ageing? | Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer". | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
221,
255
],
"text": [
"Barbara Holper",
"Albrecht Dürer the Elder"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Whose portraits are described as unflinching records of the effects of ageing?, using the article: Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer"., what would be the answer ? | Barbara Holper |
76ff7182a5266b991827f9aae489b91059871665 | What is the full name of the person whose portrait is described as one of Dürer's most exact and honest portraits? | Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer". | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
255
],
"text": [
"Albrecht Dürer the Elder"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose portrait is described as one of Dürer's most exact and honest portraits?, using the article: Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer"., what would be the answer ? | Albrecht Dürer the Elder |
9c51becfa3c861bbc7d832ae74341d813ec15740 | What two names refer to the panels that were reunited in the 2012 exhibition "The Early Dürer"? | Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer". | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
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"Dürer's Parents with Rosaries",
"Portrait Diptych of Dürer's Parents"
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{{answers.text | choice}}
| A friend asked me to answer this question: What two names refer to the panels that were reunited in the 2012 exhibition "The Early Dürer"?, using the article: Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer"., what would be the answer ? | Portrait Diptych of Dürer's Parents |
b12671bc105b3817096736c5ecc3253591fbdcc3 | Whose later writings contained eulogies for both parents? | Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer". | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
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173
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"text": [
"Albrecht Dürer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: Whose later writings contained eulogies for both parents?, using the article: Portrait Diptych of Dürer's Parents (or Dürer's Parents with Rosaries) is the collective name for two late-15th century portrait panels by the German painter and printmaker Albrecht Dürer. They show the artist's parents, Barbara Holper (c. 1451–1514) and Albrecht Dürer the Elder (c. 1427–1502), when she was around 39 and he was 63 years. The portraits are unflinching records of the physical and emotional effects of ageing. The Dürer family was close and Dürer may have intended the panels either to display his skill to his parents or as keepsakes while he travelled soon after as a journeyman painter.
They were created either as pendants, that is conceived as a pair and intended to hang alongside each other, or diptych wings. However this formation may have been a later conception; Barbara's portrait seems to have been executed some time after her husband's and it is unusual for a husband to be placed to the viewer's right in paired panels. His father's panel is considered the superior work and has been described as one of Dürer's most exact and honest portraits. They are among four paintings or drawings Dürer made of his parents, each of which unsentimentally examines the deteriorating effects of age. His later writings contain eulogies for both parents, from which the love and respect he felt toward them is evident.
Each panel measured 47.5 cm x 39.5 cm (18.7 in x 15.6 in), but the left hand panel has been cut down. They have been separated since at least 1628, until Barbara's portrait—long considered lost—was reattributed in 1977. The panels were reunited in the Germanisches Nationalmuseum's 2012 exhibition "The Early Dürer"., what would be the answer ? | Albrecht Dürer |
08d78c087c6f2b8747053314893425a3484d365e | What was the full name of the person who concluded "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance? | The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden. That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
1453
],
"text": [
"Von Fircks"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the full name of the person who concluded "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance?, using the article: The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden. That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague., what would be the answer ? | Von Fircks |
347e7606c24c38d3447e8a7b8a66ebb95c904a7e | What was the name of the person whose 1500 portrait was their last? | The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden. That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
1896
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"text": [
"Dürer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the name of the person whose 1500 portrait was their last?, using the article: The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden. That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague., what would be the answer ? | Dürer |
d33a53b8ce743ad47df2a095143a6d9cd07ba606 | What was the name of the person who drew Man of Sorrows? | The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden. That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
1896
],
"text": [
"Dürer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the name of the person who drew Man of Sorrows?, using the article: The three-quarter view was widely used in southern German portraiture of the late-15th century. Rosary beads were often included to indicate the piousness and modesty of the sitters, although by the 16th century religious motifs and sentiments like this were falling out of fashion. Dürer distinguishes himself from his contemporaries through his tight and detailed focus on his parents' faces, a technique that draws comparison to the work of the first generation of Early Netherlandish painters active 50 years earlier. Albrecht the Elder had travelled to Flanders and from working with Netherlandish artists had acquired a strong appreciation for the work of both Jan van Eyck and Rogier van der Weyden. That he passed on this influence to his son is evident from the early use of silverpoint, a medium which according to Erwin Panofsky requires "an exceptional degree of confidence, accuracy and sensitive feeling for its successful handling".
Dürer would have been aware of Hans Pleydenwurff's portrait of the ageing Count Georg von Lowenstein, through his teacher Michael Wolgemut. Pleydenwurff's portrait was in turn likely influenced by van Eyck's 1438 Portrait of Cardinal Niccolò Albergati. Von Fircks believes the portrait of Dürer's father took from Pleydenwurff's portrait, which she describes as a "highly detailed representation of [a] white haired old man, who defies the pains of growing old with an alert mind and an inner animation".Von Fircks notes that Dürer's 1484 self-portrait was created with the use of a mirror while his most iconic work is a self-portrait; the 1500 Self-Portrait at Twenty-Eight. From these she concludes that the "accurate observation and documentary recording" of both his own and his parents' appearances over time was not just a compulsion, but that is indicative of a deeper interest in the effects of time and age on human appearance. Although Dürer was fascinated by the effects of ageing on others, he seems to have had some hesitancy at examining how it might affect him personally. The self-portraits tend to be idealised and the 1500 portrait was his last. Later self-portraits are far more understated and executed in a 'secondary' media, such as his drawings of the Man of Sorrows and nude drawing of 1505, which depicted an emaciated body during the time of the plague., what would be the answer ? | Dürer |
9bc1645cadc656a025f43ac3eedb030fbc077977 | What is the name of the person that completed his apprenticeship with Michael Wolgemut? | Albrecht the Elder was 62 or 63 when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
383
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"text": [
"Dürer"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the person that completed his apprenticeship with Michael Wolgemut?, using the article: Albrecht the Elder was 62 or 63 when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's., what would be the answer ? | Dürer |
9b121eeb4d5cc07aae3e2a251c02296760c177c7 | What is the name of the person that painted Albrecht the Elder's panel? | Albrecht the Elder was 62 or 63 when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
383
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"text": [
"Dürer"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the person that painted Albrecht the Elder's panel?, using the article: Albrecht the Elder was 62 or 63 when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's., what would be the answer ? | Dürer |
8778d191970a2466c1bfd70fd21e1ff6f7256015 | What is the name of Albrecht the Elder's son? | Albrecht the Elder was 62 or 63 when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
383
],
"text": [
"Dürer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of Albrecht the Elder's son?, using the article: Albrecht the Elder was 62 or 63 when his panel was painted early in 1490. Barbara's portrait may have been completed soon after, when she would have been around 39. Their son was around 18 and had just completed his apprenticeship with Michael Wolgemut, and would soon leave for Nuremberg to travel as a journeyman painter. The father panel was painted first; for aesthetic reasons Dürer may have waited a year or two until his mother looked older.The sitters are presented in three-quarter view before flat, nondescript lacquer-like green backgrounds, which although lushly coloured, are thinly layered. Each has a white ground and light red imprimatura with lead content. The sitter's form and pose echo and in many ways counterbalance each other. Brand Philip draws attention to the similarities of the panels' linear construction, especially the manner in which the folds and lines of their clothing form triangular shapes. The train of Barbara's headdress across her chest corresponds with the opening of Albrecht's fur-lined coat. It was more usual in pendant portraits of this type for the male to be on the left-hand side; the positioning here may be an indication that Dürer originally intended his father's panel to stand alone, given that Barbara's was painted some time later.Albrecht the Elder's panel is regarded as the superior of the two works. This may in part be attributed to differing contemporary treatments of male and female portraits; men were allowed more individuality, while female portraits were bound by stereotypes and were not as daring, for example showing evidence of ageing. In either case, the father painting is far more closely detailed, especially in the lining of clothing, which is summary in Barbara's panel, compared to the long seam of her husband's gown. This contrast in detail can also be seen in the treatment of the rosaries, which are given prominence and a glowing red colour in his panel, but are small and relegated in hers.Albrecht the Elder's panel is usually, but not always, thought to be the first of the two to be executed and, if so, is the earliest extant example of his son's painting. In contrast, a number of art historians have noted that his mother's portrait contains bland passages, especially around the eyes and may be a near-contemporary copy of a lost original. Lotte Brand Philip believes the clumsiness in the mother panel indicated that Dürer painted it first, as a youthful attempt at portraiture, and that Albrecht the Elder might have later "commissioned" his own portrait to pair with Barbara's. Recent technical examination of the two panels confirms that Barbara's portrait was painted later than her husband's., what would be the answer ? | Dürer |
a8d7d4200a1f703fbebb170af79fe21270f43549 | What are the names of the people who became friends? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
35,
65
],
"text": [
"Hieronymus Holper",
"Albrecht the Elder"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the names of the people who became friends?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Albrecht the Elder |
605fc9c76f4e3ec7c3614fc86f6b8496fec24c23 | What is the first name of the person who was given into marriage when she came of age? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
915
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who was given into marriage when she came of age?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
2a92e47f267701daec3f6787a6d39b8036d37c75 | What is the first name of the person whose marriage was arranged to someone 25 years older than them? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
915
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person whose marriage was arranged to someone 25 years older than them?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
d9d4338861d0378e588c9aaba1735849110e0bc2 | What is the first name of the person who was given into marriage when she was 15? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
528
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who was given into marriage when she was 15?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
9df6b6b329ad1ef1d5cabe93866d9e6e9655bab6 | What is the first name of the person who, with her husband, had 3 of their 18 children sruvive into adulthood? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
528
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who, with her husband, had 3 of their 18 children sruvive into adulthood?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
43513f8374850e3ad0a9cbce2b3ae5fb26d91534 | What is the first name of the person who married her husband to form a comparable and well-matched marriage | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
915
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who married her husband to form a comparable and well-matched marriage, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
df09b3523204c6ab53cb7650cc9a44b071d553df | What is the first name of the person whose sons writings detail the difficult lives of her and her husband? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
528
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person whose sons writings detail the difficult lives of her and her husband?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
d8e562a93d432be56e8261326b5d7e08f3acfb33 | What is the first name of the person who died in 1514? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
528
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who died in 1514?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
ff964946c20a216666a4365594fb82336c524c90 | =What is the first name of the person whose son described her as having been "comely and of erect bearing"? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
915
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: =What is the first name of the person whose son described her as having been "comely and of erect bearing"?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
b5f571b5af7c535370e698140f8f67aba4d7ee12 | What is the first name of the person whose husband died first? | Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
528
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person whose husband died first?, using the article: Barbara Holper was the daughter of Hieronymus Holper, under whom Albrecht the Elder served his apprenticeship as a goldsmith. The two men became friends, and when she came of age Holper gave his daughter into marriage when Dürer senior was 40 and she was 15. The couple were compatible, well-matched and fond of each other. Yet their son's writings detail their difficult lives and many setbacks; three of their 18 children survived into adulthood – 17 of whom had been born by the time of this portrait. After her husband died Barbara was destitute and went to live with her son. After she in turn died in 1514, her son wrote "This my pious Mother ... often had the plague and many other severe and strange illnesses, and she suffered great poverty, scorn, contempt, mocking words, terrors, and great adversities. Yet she bore no malice. Also she died hard ... I felt so grieved for her that I cannot express it."
Barbara is shown wearing a red dress and a matte white bonnet which fully covers her hair, indicating her marital status. Her headdress is draped with a long scarf or train which stretches down her neck and across her left shoulder, contrasting in colour and shape against the black head-wear of her husband. The lines of her face contain touches of white paint to give a highlighting and enlivening effect; they are especially evident around her eyes, the bridge of her nose and around her upper lip. Barbara was attractive in her youth; her son described her as having been "comely and of erect bearing". However, by the time of this portrait the effects of time and losing so many children weigh heavily on her face. The panel was grounded with white paint, while the composition seems to have changed significantly from the imprimatura. Faint traces of the original figuration are visible in parts of the background and in the darkened areas of her hood. At some point the panel was cut down at the left side, shifting the compositional balance and removing a portion of her shoulder and headdress., what would be the answer ? | Barbara |
b95ac5db21644085796a0e34577db7c5134f2883 | What is the name of the artist who over-painted the detailed background, which was revealed in technical analysis carried out in 2013? | Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period.
Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in part achieved through Dürer's ability to convey this hardship, while at the same time presenting a man still imbued with traces of pride, and possessing "a kind old face". Noting the obvious affection between the father and son as well as the half smile of the older man, he wonders if that grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent, who was now about to set out on the world for his wanderjahr. A contributing factor to this pride is that Albrecht the Elder trained his son in his own profession, as a jeweller, but at one point came to regret the choice of apprenticeship as the younger man was so obviously suited to drawing and painting. However, his son learned many skills during that period and it gave him a discipline with his hands that became a defining factor of his work, especially in his ability as an engraver. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
437
],
"text": [
"Dürer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the artist who over-painted the detailed background, which was revealed in technical analysis carried out in 2013?, using the article: Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period.
Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in part achieved through Dürer's ability to convey this hardship, while at the same time presenting a man still imbued with traces of pride, and possessing "a kind old face". Noting the obvious affection between the father and son as well as the half smile of the older man, he wonders if that grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent, who was now about to set out on the world for his wanderjahr. A contributing factor to this pride is that Albrecht the Elder trained his son in his own profession, as a jeweller, but at one point came to regret the choice of apprenticeship as the younger man was so obviously suited to drawing and painting. However, his son learned many skills during that period and it gave him a discipline with his hands that became a defining factor of his work, especially in his ability as an engraver., what would be the answer ? | Dürer |
6c6b3f7ddf37834017b4d71325847e011f1f12eb | What is the full name of Dürer's father who wears a dark shirt, russet coat and a black hat lined with fur? | Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period.
Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in part achieved through Dürer's ability to convey this hardship, while at the same time presenting a man still imbued with traces of pride, and possessing "a kind old face". Noting the obvious affection between the father and son as well as the half smile of the older man, he wonders if that grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent, who was now about to set out on the world for his wanderjahr. A contributing factor to this pride is that Albrecht the Elder trained his son in his own profession, as a jeweller, but at one point came to regret the choice of apprenticeship as the younger man was so obviously suited to drawing and painting. However, his son learned many skills during that period and it gave him a discipline with his hands that became a defining factor of his work, especially in his ability as an engraver. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
858
],
"text": [
"Albrecht the Elder"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of Dürer's father who wears a dark shirt, russet coat and a black hat lined with fur?, using the article: Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period.
Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in part achieved through Dürer's ability to convey this hardship, while at the same time presenting a man still imbued with traces of pride, and possessing "a kind old face". Noting the obvious affection between the father and son as well as the half smile of the older man, he wonders if that grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent, who was now about to set out on the world for his wanderjahr. A contributing factor to this pride is that Albrecht the Elder trained his son in his own profession, as a jeweller, but at one point came to regret the choice of apprenticeship as the younger man was so obviously suited to drawing and painting. However, his son learned many skills during that period and it gave him a discipline with his hands that became a defining factor of his work, especially in his ability as an engraver., what would be the answer ? | Albrecht the Elder |
f673a7890a65622fd50e5f92efd0239753575ffd | What is the last name of the person who wonders if the grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent? | Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period.
Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in part achieved through Dürer's ability to convey this hardship, while at the same time presenting a man still imbued with traces of pride, and possessing "a kind old face". Noting the obvious affection between the father and son as well as the half smile of the older man, he wonders if that grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent, who was now about to set out on the world for his wanderjahr. A contributing factor to this pride is that Albrecht the Elder trained his son in his own profession, as a jeweller, but at one point came to regret the choice of apprenticeship as the younger man was so obviously suited to drawing and painting. However, his son learned many skills during that period and it gave him a discipline with his hands that became a defining factor of his work, especially in his ability as an engraver. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
1991
],
"text": [
"Conway"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who wonders if the grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent?, using the article: Dürer's father wears a dark shirt, russet coat and a black hat lined with fur. His skin is slack at the mouth and chin, and he has small, intelligent eyes, which Von Fircks describes as "dark and serious". Their curves echo those of the heavy lids beneath. His eyes are lined with crow's feet and shadowed with brown hatched paint. His facial features are built from brush strokes more typical of drawing than painting—at this young age Dürer was a far more skilled draughtsman than painter. Technical analysis carried out in 2013 by Dagmar Hirschfelder revealed a detailed background which was over-painted by the artist. The abandoned interior space consisted of a corner of a room with an arched window looking out to a countryside view. This type of interior can be traced to the Netherlandish tradition, and is rare in German portraiture of the period.
Albrecht the Elder's lips are thin and tightly pursed and his mouth is broad and down-turned, yet his features are those of a handsome man. Marcel Brion described him as appearing "mild and thoughtful", an impression reinforced by the uncomplicated design of the painting. This view is reinforced by the relative drabness or simplicity of his clothes, which seem intended to convey a reserved, ascetic piousness. Dürer presents his father more like a low-ranking ecclesiastic than a tradesman: a calm, considerate and straightforward man dressed up in his best, albeit modest, clothes. After his father's death in 1502, Dürer wrote that Albrecht the Elder "passed his life in great toil and stern hard labour, having nothing for his support save what he earned with his hand for himself, his wife and his children ... He underwent manifold afflictions, trials and adversities. But he won just praise from all who knew him ... he was also of few words, and was a God-fearing man."Martin Conway describes the portrayal of a dignified man marked by a grave expression and deep "furrows ploughed by seventy years of labour and sorrow". Conway believed the strength of the portrait is in part achieved through Dürer's ability to convey this hardship, while at the same time presenting a man still imbued with traces of pride, and possessing "a kind old face". Noting the obvious affection between the father and son as well as the half smile of the older man, he wonders if that grin might have been born of Albrecht the Elder's satisfaction that his toil has been rewarded by a son of such talent, who was now about to set out on the world for his wanderjahr. A contributing factor to this pride is that Albrecht the Elder trained his son in his own profession, as a jeweller, but at one point came to regret the choice of apprenticeship as the younger man was so obviously suited to drawing and painting. However, his son learned many skills during that period and it gave him a discipline with his hands that became a defining factor of his work, especially in his ability as an engraver., what would be the answer ? | Conway |
6eff4635582c0a769864944828e77e38f4c5915c | What is the last name of the painter who died in 1528? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
178
],
"text": [
"Dürer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the painter who died in 1528?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Dürer |
a06284483516fdc2d5de4bb00bf54986e377ab47 | What is the first name of the person who was friends with Pirckheimer? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
2087
],
"text": [
"Albrecht"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who was friends with Pirckheimer?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Albrecht |
e7edad4f7fc973cc79ec736d0d9b42ecfbf19b6c | What was the first name of Dürer's mother? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
576
],
"text": [
"Barbara"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the first name of Dürer's mother?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Barbara |
f095f67999227dcc4637631ebc680dffc9953f5a | What is the full name of the person whose portrait was last accounted for, prior to 1977, in the inventory books of Hans Hieronymus Imhoff? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
576
],
"text": [
"Barbara Holper"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person whose portrait was last accounted for, prior to 1977, in the inventory books of Hans Hieronymus Imhoff?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Barbara Holper |
eb74a3350f18a4d6d3bb631f33b76024bbfc0a5c | What is the first name of the person who attentively describes the subject's hands in the paintings? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
2087
],
"text": [
"Albrecht"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who attentively describes the subject's hands in the paintings?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Albrecht |
4e6b994f9ba12a5567b3a5bb86fd19d0f16bacce | What is the first name of the person who created the charcoal drawing Portrait of the Artist's Mother at the Age of 63? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
2087
],
"text": [
"Albrecht"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who created the charcoal drawing Portrait of the Artist's Mother at the Age of 63?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Albrecht |
12583d3fe1f74dcbb57e31c2d88c61bfe6542119 | What is the first name of the person who speculated that the father's portrait had been broken off and sold to Rudolph II of Austria? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
1630
],
"text": [
"Fedja"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who speculated that the father's portrait had been broken off and sold to Rudolph II of Austria?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Fedja |
bdc07a286fb529a1b3e2811d1cc858d9de838c2c | What is the last name of the subject of the painting that Hans Hieronymus Imhoff gave a lukewarm description for? | After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628. | Portrait Diptych of Dürer's Parents | https://en.wikipedia.org/wiki/Portrait_Diptych_of_D%C3%BCrer%27s_Parents | {
"answer_start": [
584
],
"text": [
"Holper"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the subject of the painting that Hans Hieronymus Imhoff gave a lukewarm description for?, using the article: After the painter's death in 1528, the portraits were held by his brother, and then his brother's widow before they passed into the collection of Willibald Imhoff, a grandson of Dürer's friend Willibald Pirckheimer. Inventories from the Imhoff collection from 1573–74, 1580 and 1588 list both panels. The next surviving Imhoff inventory, of 1628, again lists the mother's portrait, but it disappears after mention in the 1633–58 account books of Hans Hieronymus Imhoff, after which its whereabouts became unknown. Dürer expert Matthias Mende described the missing portrait of Barbara Holper as "among the most severe losses in the Dürer oeuvre".
In 1977, art historian Lotte Brand Philip proposed that Unknown Woman in a Coif, held by the Germanisches Nationalmuseum in Nuremberg, was the original portrait of Barbara Holper. The Nuremberg panel was previously thought to have originated from a member of Wolgemut's workshop, a Franconian artist in his circle, or the anonymous Mainz painter Master W. B. Brand Philip's attribution was based on striking similarities in composition and its shared tone, theme and size with the father panel at the Uffizi. In both works the sitters are holding rosary beads, and Dürer attentively describes their hands. Both portraits show the sitter in the same pose, against a similarly coloured background. Both are lit from the upper left. The boards are identically cut in width and depth, although 3 cm was removed from the left edge of Barbara's panel. Brand Philip noted the similarities between the panel and Dürer's 1514 charcoal drawing Portrait of the Artist's Mother at the Age of 63. Fedja Anzelewsky agreed with the attribution, noting that both portraits bear, on their reverse, the catalogue number recorded in the Imhoff inventories, as well as "precisely the same design of masses of dark clouds".Anzelewsky speculated that the father's portrait, which was not listed in the 1628 Imhoff inventory, had been broken off and sold to Rudolph II of Austria. Hans Hieronymus Imhoff's lukewarm description of Barbara's portrait—"the mother of Albrecht Dürer in oil colors on wood, [but] there are many who do not believe it to be a work of Dürer"—led Brand Philip to conclude that Albrecht's panel was likely sold individually as the more accomplished and marketable of the two. The attribution is widely accepted today. In 2013 Stephan Kemperdick noted the sophistication of the Nuremberg portrait and that its three-dimensional modeling of the head displays a level of skill beyond Wolgemut and his circle.The two panels were reunited in 2012 during a Dürer exhibition in Nuremberg having been separated since sometime between 1588 and 1628., what would be the answer ? | Holper |
710b26d6b8e9353173afe0a983927511657c97b0 | What were the designs for that were overseen by master craftsmen who were influenced by diptych and triptych panel paintings? | Boxwood is a dense hardwood with fine grain, resistant to splitting and chipping—ideal for wood carving. In the 16th century, woodcut blocks used for woodblock printing were usually made of boxwood. Uses for boxwood were similar to those for ivory in medieval carvings, but boxwood was a far less expensive option than ivory. Designs were overseen by master craftsmen who must have had access to prints and woodcuts of contemporary works of art, and who were apparently influenced by diptych and triptych panel paintings.Boxwood grows slowly, so the trunk remains fairly narrow, a fact that limits the size of any carvings made from any single piece. The wood assumes an even, soft and tactile surface if polished or frequently handled, such as was the case for prayer nuts. The wood loses its tactility when painted, explaining why most of the miniatures are in monochrome. Polychromy reduced the legibility of the carvings, "quite apart from the difficulty of effectively coloring such tiny and complex scenes" as the art historian Frits Scholten has noted.The tools used in production were similar to those used in the production of larger altarpieces; they included saws, planes, card scrapers, chisels, augers, braces, and gimlets. Wood was cut into the required dimensions as blocks, after which the joints were carved out. Prayer beads were turned on a lathe. The woodcutters carved a single block of boxwood into a sphere, cut it in half, hollowed it out, and attached a fastening hinge and carrying loops. The carvings in the interiors were typically made separately from the smaller hemispheres and later fitted onto an outer shell. In some cases, these wooden shells were placed in silver housing.
Because of the diminutive scale of the pieces, magnifying glasses were used in their production. The very small wood pieces were difficult to brace (hold in place) during carving. They were likely positioned on a bench, between two posts, so that they could be turned around. Domed spaces, intended to evoke church architecture, were drilled or carved, and these were divided using compasses and a straightedge into pie-shaped segments. A surface plane was established onto which the reliefs were added. These were created from multiple separate wood sheets, individually produced before being joined in layers. Major figures, usually saints, were carved from single blocks of wood. Relief components were either glued into prefixed niches, or they were bound with pegs, which were sometimes functional and obviously visible or implanted into the relief form. Because of this layered structure, they are often fragile. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
251
],
"text": [
"medieval carvings"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What were the designs for that were overseen by master craftsmen who were influenced by diptych and triptych panel paintings?, using the article: Boxwood is a dense hardwood with fine grain, resistant to splitting and chipping—ideal for wood carving. In the 16th century, woodcut blocks used for woodblock printing were usually made of boxwood. Uses for boxwood were similar to those for ivory in medieval carvings, but boxwood was a far less expensive option than ivory. Designs were overseen by master craftsmen who must have had access to prints and woodcuts of contemporary works of art, and who were apparently influenced by diptych and triptych panel paintings.Boxwood grows slowly, so the trunk remains fairly narrow, a fact that limits the size of any carvings made from any single piece. The wood assumes an even, soft and tactile surface if polished or frequently handled, such as was the case for prayer nuts. The wood loses its tactility when painted, explaining why most of the miniatures are in monochrome. Polychromy reduced the legibility of the carvings, "quite apart from the difficulty of effectively coloring such tiny and complex scenes" as the art historian Frits Scholten has noted.The tools used in production were similar to those used in the production of larger altarpieces; they included saws, planes, card scrapers, chisels, augers, braces, and gimlets. Wood was cut into the required dimensions as blocks, after which the joints were carved out. Prayer beads were turned on a lathe. The woodcutters carved a single block of boxwood into a sphere, cut it in half, hollowed it out, and attached a fastening hinge and carrying loops. The carvings in the interiors were typically made separately from the smaller hemispheres and later fitted onto an outer shell. In some cases, these wooden shells were placed in silver housing.
Because of the diminutive scale of the pieces, magnifying glasses were used in their production. The very small wood pieces were difficult to brace (hold in place) during carving. They were likely positioned on a bench, between two posts, so that they could be turned around. Domed spaces, intended to evoke church architecture, were drilled or carved, and these were divided using compasses and a straightedge into pie-shaped segments. A surface plane was established onto which the reliefs were added. These were created from multiple separate wood sheets, individually produced before being joined in layers. Major figures, usually saints, were carved from single blocks of wood. Relief components were either glued into prefixed niches, or they were bound with pegs, which were sometimes functional and obviously visible or implanted into the relief form. Because of this layered structure, they are often fragile., what would be the answer ? | medieval carvings |
ce0a90cbd3b216a61393fb77607b2b3118be5a8d | Why does the dense hardwood that was used for 16th-century woodcut blocks grow on a tree that has a fairly narrow trunk? | Boxwood is a dense hardwood with fine grain, resistant to splitting and chipping—ideal for wood carving. In the 16th century, woodcut blocks used for woodblock printing were usually made of boxwood. Uses for boxwood were similar to those for ivory in medieval carvings, but boxwood was a far less expensive option than ivory. Designs were overseen by master craftsmen who must have had access to prints and woodcuts of contemporary works of art, and who were apparently influenced by diptych and triptych panel paintings.Boxwood grows slowly, so the trunk remains fairly narrow, a fact that limits the size of any carvings made from any single piece. The wood assumes an even, soft and tactile surface if polished or frequently handled, such as was the case for prayer nuts. The wood loses its tactility when painted, explaining why most of the miniatures are in monochrome. Polychromy reduced the legibility of the carvings, "quite apart from the difficulty of effectively coloring such tiny and complex scenes" as the art historian Frits Scholten has noted.The tools used in production were similar to those used in the production of larger altarpieces; they included saws, planes, card scrapers, chisels, augers, braces, and gimlets. Wood was cut into the required dimensions as blocks, after which the joints were carved out. Prayer beads were turned on a lathe. The woodcutters carved a single block of boxwood into a sphere, cut it in half, hollowed it out, and attached a fastening hinge and carrying loops. The carvings in the interiors were typically made separately from the smaller hemispheres and later fitted onto an outer shell. In some cases, these wooden shells were placed in silver housing.
Because of the diminutive scale of the pieces, magnifying glasses were used in their production. The very small wood pieces were difficult to brace (hold in place) during carving. They were likely positioned on a bench, between two posts, so that they could be turned around. Domed spaces, intended to evoke church architecture, were drilled or carved, and these were divided using compasses and a straightedge into pie-shaped segments. A surface plane was established onto which the reliefs were added. These were created from multiple separate wood sheets, individually produced before being joined in layers. Major figures, usually saints, were carved from single blocks of wood. Relief components were either glued into prefixed niches, or they were bound with pegs, which were sometimes functional and obviously visible or implanted into the relief form. Because of this layered structure, they are often fragile. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
521
],
"text": [
"Boxwood grows slowly"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Why does the dense hardwood that was used for 16th-century woodcut blocks grow on a tree that has a fairly narrow trunk?, using the article: Boxwood is a dense hardwood with fine grain, resistant to splitting and chipping—ideal for wood carving. In the 16th century, woodcut blocks used for woodblock printing were usually made of boxwood. Uses for boxwood were similar to those for ivory in medieval carvings, but boxwood was a far less expensive option than ivory. Designs were overseen by master craftsmen who must have had access to prints and woodcuts of contemporary works of art, and who were apparently influenced by diptych and triptych panel paintings.Boxwood grows slowly, so the trunk remains fairly narrow, a fact that limits the size of any carvings made from any single piece. The wood assumes an even, soft and tactile surface if polished or frequently handled, such as was the case for prayer nuts. The wood loses its tactility when painted, explaining why most of the miniatures are in monochrome. Polychromy reduced the legibility of the carvings, "quite apart from the difficulty of effectively coloring such tiny and complex scenes" as the art historian Frits Scholten has noted.The tools used in production were similar to those used in the production of larger altarpieces; they included saws, planes, card scrapers, chisels, augers, braces, and gimlets. Wood was cut into the required dimensions as blocks, after which the joints were carved out. Prayer beads were turned on a lathe. The woodcutters carved a single block of boxwood into a sphere, cut it in half, hollowed it out, and attached a fastening hinge and carrying loops. The carvings in the interiors were typically made separately from the smaller hemispheres and later fitted onto an outer shell. In some cases, these wooden shells were placed in silver housing.
Because of the diminutive scale of the pieces, magnifying glasses were used in their production. The very small wood pieces were difficult to brace (hold in place) during carving. They were likely positioned on a bench, between two posts, so that they could be turned around. Domed spaces, intended to evoke church architecture, were drilled or carved, and these were divided using compasses and a straightedge into pie-shaped segments. A surface plane was established onto which the reliefs were added. These were created from multiple separate wood sheets, individually produced before being joined in layers. Major figures, usually saints, were carved from single blocks of wood. Relief components were either glued into prefixed niches, or they were bound with pegs, which were sometimes functional and obviously visible or implanted into the relief form. Because of this layered structure, they are often fragile., what would be the answer ? | Boxwood grows slowly |
d4d9816d8f8628171964f949ee807a7eab4cc6c2 | In what country did Adam Dircksz lead a workshop? | Because of shared characteristics, including common use of horror vacui, similar spatial approaches and use of depth, as well as similar hinges and methods of construction, Leeuwenberg has suggested that production of a number of the miniatures was overseen by a single master named Adam Dircksz, Dircksz was first identified through a signature on a prayer nut now in the Statens Museum Copenhagen, reading "Adam Theodrici me fecit" (Adam Dircksz has made me). The Latin name "Adam Theodrici" may be translated into English as "Adam of Theodoric", but art historians usually use the Dutch version of his name, Adam Dircksz. Although it was rare in the 16th century for artists to sign a work, when done, it usually took the "me fecit" (made me) form, in effect of making the object speak.Almost nothing is known about Dircksz except that the works were produced c. 1500–30. The signature may indicate that he was a woodcutter, sculptor, medallist, or just simply the patron. Dircksz is thought to have been active between 1500 and 1530, and responsible for some sixty of the surviving examples. He may have led a workshop in the southern Netherlands, given that Flemish inscriptions appear on some of the carvings. Alternatively, it was located more northerly, possibly in the north of Brabant or at Delft in Holland. In any case, apart from Henry VIII and Catherine, all of the original owners come from the Netherlands.Regardless of the number of works that Dircksz or his workshop can be attributed with, art historians often debate what the artistic and technical precedents for the miniatures might be. Scholten observes how, to a large extent, it seems "as if this exquisite sculpture was born ex nihilo around 1500", but points out that "giant strides are rarely made in art history", pointing to affinities with silversmith's art, especially the miniature architectural elements often found in ecclesiastical silver and ornaments. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
1139
],
"text": [
"Netherlands"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: In what country did Adam Dircksz lead a workshop?, using the article: Because of shared characteristics, including common use of horror vacui, similar spatial approaches and use of depth, as well as similar hinges and methods of construction, Leeuwenberg has suggested that production of a number of the miniatures was overseen by a single master named Adam Dircksz, Dircksz was first identified through a signature on a prayer nut now in the Statens Museum Copenhagen, reading "Adam Theodrici me fecit" (Adam Dircksz has made me). The Latin name "Adam Theodrici" may be translated into English as "Adam of Theodoric", but art historians usually use the Dutch version of his name, Adam Dircksz. Although it was rare in the 16th century for artists to sign a work, when done, it usually took the "me fecit" (made me) form, in effect of making the object speak.Almost nothing is known about Dircksz except that the works were produced c. 1500–30. The signature may indicate that he was a woodcutter, sculptor, medallist, or just simply the patron. Dircksz is thought to have been active between 1500 and 1530, and responsible for some sixty of the surviving examples. He may have led a workshop in the southern Netherlands, given that Flemish inscriptions appear on some of the carvings. Alternatively, it was located more northerly, possibly in the north of Brabant or at Delft in Holland. In any case, apart from Henry VIII and Catherine, all of the original owners come from the Netherlands.Regardless of the number of works that Dircksz or his workshop can be attributed with, art historians often debate what the artistic and technical precedents for the miniatures might be. Scholten observes how, to a large extent, it seems "as if this exquisite sculpture was born ex nihilo around 1500", but points out that "giant strides are rarely made in art history", pointing to affinities with silversmith's art, especially the miniature architectural elements often found in ecclesiastical silver and ornaments., what would be the answer ? | Netherlands |
e61f744eea26a243cdb74620b27125334aed70d2 | What is the name of the person that points out "giant strides are rarely made in art history"? | Because of shared characteristics, including common use of horror vacui, similar spatial approaches and use of depth, as well as similar hinges and methods of construction, Leeuwenberg has suggested that production of a number of the miniatures was overseen by a single master named Adam Dircksz, Dircksz was first identified through a signature on a prayer nut now in the Statens Museum Copenhagen, reading "Adam Theodrici me fecit" (Adam Dircksz has made me). The Latin name "Adam Theodrici" may be translated into English as "Adam of Theodoric", but art historians usually use the Dutch version of his name, Adam Dircksz. Although it was rare in the 16th century for artists to sign a work, when done, it usually took the "me fecit" (made me) form, in effect of making the object speak.Almost nothing is known about Dircksz except that the works were produced c. 1500–30. The signature may indicate that he was a woodcutter, sculptor, medallist, or just simply the patron. Dircksz is thought to have been active between 1500 and 1530, and responsible for some sixty of the surviving examples. He may have led a workshop in the southern Netherlands, given that Flemish inscriptions appear on some of the carvings. Alternatively, it was located more northerly, possibly in the north of Brabant or at Delft in Holland. In any case, apart from Henry VIII and Catherine, all of the original owners come from the Netherlands.Regardless of the number of works that Dircksz or his workshop can be attributed with, art historians often debate what the artistic and technical precedents for the miniatures might be. Scholten observes how, to a large extent, it seems "as if this exquisite sculpture was born ex nihilo around 1500", but points out that "giant strides are rarely made in art history", pointing to affinities with silversmith's art, especially the miniature architectural elements often found in ecclesiastical silver and ornaments. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
1609
],
"text": [
"Scholten"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the person that points out "giant strides are rarely made in art history"?, using the article: Because of shared characteristics, including common use of horror vacui, similar spatial approaches and use of depth, as well as similar hinges and methods of construction, Leeuwenberg has suggested that production of a number of the miniatures was overseen by a single master named Adam Dircksz, Dircksz was first identified through a signature on a prayer nut now in the Statens Museum Copenhagen, reading "Adam Theodrici me fecit" (Adam Dircksz has made me). The Latin name "Adam Theodrici" may be translated into English as "Adam of Theodoric", but art historians usually use the Dutch version of his name, Adam Dircksz. Although it was rare in the 16th century for artists to sign a work, when done, it usually took the "me fecit" (made me) form, in effect of making the object speak.Almost nothing is known about Dircksz except that the works were produced c. 1500–30. The signature may indicate that he was a woodcutter, sculptor, medallist, or just simply the patron. Dircksz is thought to have been active between 1500 and 1530, and responsible for some sixty of the surviving examples. He may have led a workshop in the southern Netherlands, given that Flemish inscriptions appear on some of the carvings. Alternatively, it was located more northerly, possibly in the north of Brabant or at Delft in Holland. In any case, apart from Henry VIII and Catherine, all of the original owners come from the Netherlands.Regardless of the number of works that Dircksz or his workshop can be attributed with, art historians often debate what the artistic and technical precedents for the miniatures might be. Scholten observes how, to a large extent, it seems "as if this exquisite sculpture was born ex nihilo around 1500", but points out that "giant strides are rarely made in art history", pointing to affinities with silversmith's art, especially the miniature architectural elements often found in ecclesiastical silver and ornaments., what would be the answer ? | Scholten |
89db50ab44bfa6dcb500b27d7ecf45a6829c4bcc | What were passed from generation to generation? | Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
0
],
"text": [
"Boxwood miniatures"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What were passed from generation to generation?, using the article: Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death., what would be the answer ? | Boxwood miniatures |
e8341b35115e0a4c223fbf2dcd2709ba2bdddf34 | What fell out of fashion in the early modern period? | Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
0
],
"text": [
"Boxwood miniatures"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What fell out of fashion in the early modern period?, using the article: Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death., what would be the answer ? | Boxwood miniatures |
47f108816fa0d699d3d66af964fe6dccb427fb76 | What is the first name of the person who was not a purist? | Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
850
],
"text": [
"Frédéric"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who was not a purist?, using the article: Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death., what would be the answer ? | Frédéric |
2940a64faa552e0023c2d48edf091ef47b1a2c40 | What is the full name of the person who commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks? | Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
850
],
"text": [
"Frédéric Spitzer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks?, using the article: Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death., what would be the answer ? | Frédéric Spitzer |
0481393b08e8e0aed98b02749041c170a9bb483b | What is the first name of the person who augmented boxwood carvings? | Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
850
],
"text": [
"Frédéric"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person who augmented boxwood carvings?, using the article: Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death., what would be the answer ? | Frédéric |
e43dcf38559a403dc21612959abff54e2ea3e812 | Whose collection included the world's largest gathering of boxwood miniatures? | Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death. | Gothic boxwood miniature | https://en.wikipedia.org/wiki/Gothic_boxwood_miniature | {
"answer_start": [
1475
],
"text": [
"Kenneth Thomson"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Whose collection included the world's largest gathering of boxwood miniatures?, using the article: Boxwood miniatures seemed to have served three original functions: aids to private devotion, luxury objects of status, and novel playthings. Later they became precious family heirlooms passed from generation to generation, but as medieval art fell out of fashion in the early modern period, their provenance was often lost. The earliest record of a collection is the 1598 inventory of the dukes of Bavaria, which contain several boxwood miniatures.Of the surviving works, over one hundred re-emerged in the 19th century Parisian antiquarian market, then the leading market for medieval art. During this period, they were acquired by collectors such as the British collector Richard Wallace (1818–1890), who purchased Count van Nieuwerkerke's (1811–1892) entire collection, including two boxwood prayer nuts, the Vienna-born collector of objets d'art Frédéric Spitzer (1815−1890), and Ferdinand de Rothschild (1839–1898). Spitzer was not a purist and commissioned metalsmiths to produce modern versions, or copies, of a variety of medieval artworks. Today, there are four surviving boxwood carvings he had augmented for the market.When the American financier J. P. Morgan purchased Baron Albert Oppenheim's collection in 1906, he acquired four boxwood miniatures, including a triptych with the Crucifixion and Resurrection, and a prayer nut showing the Carrying of the Cross, all of which are now in the Metropolitan Museum of Art in New York. The Canadian publishing magnate Kenneth Thomson was an important collector for over 50 years, and his collection included the world's largest gathering of boxwood miniatures, including two skulls, two triptychs, and six prayer beads. These were bequeathed to the Art Gallery of Ontario, along with three other works collected by his family after his death., what would be the answer ? | Kenneth Thomson |
64ca0b6f283882237694224ec9be8aa99fce297b | Who is married to the Frenchwoman? | In April 1942 in the Philippines, an American motor torpedo boat is destroyed by Japanese planes. The survivors, among them Ensign Chuck Palmer, make their way ashore on Cebu. Their commander orders them to split up. Chuck pairs up with Jim Mitchell and reaches Colonel Benson on Leyte, only to be told that he has been ordered by General Douglas MacArthur to surrender his forces soon.
Chuck helps Jeanne Martinez, a Frenchwoman married to a Filipino planter, get medical assistance for a pregnant woman. Jeanne pleads with Chuck to stay and fight, but he buys an outrigger canoe and recruits a crew of Air Corps soldiers in a desperate, but unsuccessful attempt to sail to Australia. When the boat founders, the crew is rescued by Miguel, a member of the Filipino resistance. The Americans evade capture and Chuck eventually meets Jeanne again, as well as her husband Juan, a secret supporter of the resistance movement.
Chuck is ordered to stay in the Philippines to help set up a network to gather intelligence on the Japanese. Later, Juan is beaten to death in front of Jeanne in an attempt to find out where the guerrillas are hiding out. Jeanne joins the resistance and is reunited with Chuck at Christmas 1943. They begin to fall in love.
After three years of fighting, Chuck, Jeanne, Jim and the rest of their band are trapped in a church by a Japanese patrol. Just when it looks as if they will be wiped out, squadrons of American planes appear overhead and explosions are heard, announcing the liberation of the Philippines is underway. The Japanese leave to face this greater threat. | American Guerrilla in the Philippines | https://en.wikipedia.org/wiki/American_Guerrilla_in_the_Philippines | {
"answer_start": [
870
],
"text": [
"Juan"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who is married to the Frenchwoman?, using the article: In April 1942 in the Philippines, an American motor torpedo boat is destroyed by Japanese planes. The survivors, among them Ensign Chuck Palmer, make their way ashore on Cebu. Their commander orders them to split up. Chuck pairs up with Jim Mitchell and reaches Colonel Benson on Leyte, only to be told that he has been ordered by General Douglas MacArthur to surrender his forces soon.
Chuck helps Jeanne Martinez, a Frenchwoman married to a Filipino planter, get medical assistance for a pregnant woman. Jeanne pleads with Chuck to stay and fight, but he buys an outrigger canoe and recruits a crew of Air Corps soldiers in a desperate, but unsuccessful attempt to sail to Australia. When the boat founders, the crew is rescued by Miguel, a member of the Filipino resistance. The Americans evade capture and Chuck eventually meets Jeanne again, as well as her husband Juan, a secret supporter of the resistance movement.
Chuck is ordered to stay in the Philippines to help set up a network to gather intelligence on the Japanese. Later, Juan is beaten to death in front of Jeanne in an attempt to find out where the guerrillas are hiding out. Jeanne joins the resistance and is reunited with Chuck at Christmas 1943. They begin to fall in love.
After three years of fighting, Chuck, Jeanne, Jim and the rest of their band are trapped in a church by a Japanese patrol. Just when it looks as if they will be wiped out, squadrons of American planes appear overhead and explosions are heard, announcing the liberation of the Philippines is underway. The Japanese leave to face this greater threat., what would be the answer ? | Juan |
3973a43e3caa4f27849eaa526ee58bbd0ffb5b80 | What is the first name of the father of the girl on the stagecoach that the outlaw protects? | Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred. | Colorado Territory (film) | https://en.wikipedia.org/wiki/Colorado_Territory_(film) | {
"answer_start": [
386
],
"text": [
"Fred"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the father of the girl on the stagecoach that the outlaw protects?, using the article: Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred., what would be the answer ? | Fred |
3da194ff84c157e63d08a22f0467b57a160623c1 | What is the last name of the person that the ailing man wants to pull off a big train robbery? | Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred. | Colorado Territory (film) | https://en.wikipedia.org/wiki/Colorado_Territory_(film) | {
"answer_start": [
793
],
"text": [
"McQueen"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person that the ailing man wants to pull off a big train robbery?, using the article: Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred., what would be the answer ? | McQueen |
8192132197bff9ac87e9fc77ce664f2197acc4e5 | Who does woman that the outlaw wants to marry still love? | Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred. | Colorado Territory (film) | https://en.wikipedia.org/wiki/Colorado_Territory_(film) | {
"answer_start": [
1485
],
"text": [
"Randolph"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who does woman that the outlaw wants to marry still love?, using the article: Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred., what would be the answer ? | Randolph |
3e9e32606453cd385fb3a3ea7d5ad6749b262e13 | What is the first name of the person that is in a relationship with the woman that falls for the outlaw? | Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred. | Colorado Territory (film) | https://en.wikipedia.org/wiki/Colorado_Territory_(film) | {
"answer_start": [
565
],
"text": [
"Reno"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the first name of the person that is in a relationship with the woman that falls for the outlaw?, using the article: Notorious outlaw Wes McQueen breaks out of jail and heads off to the Colorado Territory to meet the man who arranged the escape, his old friend Dave Rickard. Along the way, the stagecoach he is riding in is attacked by a gang of robbers. When the driver and guard are both killed, McQueen kills or drives off the remaining gunmen, earning the gratitude of the other passengers, dreamer Fred Winslow and his daughter Julie Ann. Winslow has bought a ranch sight unseen and looks forward to making his fortune.
McQueen arrives at the ghost town of Todos Santos, where Reno Blake and Duke Harris are waiting for him, along with Reno's part-Indian girlfriend, Colorado Carson. After looking them over (and not liking what he sees), he heads off to a nearby town to meet an ailing Rickard, who asks McQueen to pull off one last big train robbery so they can both retire.
With the exception of Rickard, McQueen distrusts everybody else in the gang, including ex-private detective Pluthner, who recruited Reno and Duke, and Homer Wallace, the railroad informant. McQueen wants to go straight, but agrees to do the job out of gratitude and friendship.
While waiting for the robbery, McQueen decides to keep Colorado with him to avoid stirring up trouble between Duke and Reno. Although Colorado falls for him and tells him so, McQueen still dreams of marrying Julie Ann and settling down. When he visits the Winslow ranch, he finds it a poor, arid place. Winslow warns him that Julie Ann loves Randolph, a rich man back east. Winslow took her away because Randolph would never have married so far beneath him socially. McQueen, however, is undeterred., what would be the answer ? | Reno |
e9028b42046c7b5586e4caa7a227790da1bd33ba | Whose ex-boyfriend shows up to harass Michael? | The film opens with Tammy at cheerleader practice, while her boyfriend Michael walks in from football practice to observe. The two of them meet Byron, Tammy's gay friend, who approves of Michael as her new boyfriend. Shortly thereafter, Tammy's violent and jealous ex-boyfriend Billy arrives with his gang and harasses Michael. A fight erupts between the two. However, the police arrive to break up the fight and take Billy into custody, but Tammy, unable to deal with the events, breaks down and runs away in tears.
The scene then cuts to a figure of a T-Rex in a dark warehouse as two people, Dr. Wachenstein and his assistant Helga, walk through the doors. The lights come on and the T-Rex figure begins to move, being controlled by someone in a room. The Dr. is impressed by the robotic dinosaur's strength, and reveals his plan to implant a living human brain into the robot to give it consciousness, mobility and, "immortality".
Later that night, Michael sneaks out to see Tammy. They are soon interrupted by Billy and his thugs, who chase and catch Michael. They throw him into the wild Animal Park where lions and jaguars run loose. A lion mauls Michael and he is left in a comatose state. He is brought to a hospital where his intoxicated uncle watches over him. | Tammy and the T-Rex | https://en.wikipedia.org/wiki/Tammy_and_the_T-Rex | {
"answer_start": [
20
],
"text": [
"Tammy"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Whose ex-boyfriend shows up to harass Michael?, using the article: The film opens with Tammy at cheerleader practice, while her boyfriend Michael walks in from football practice to observe. The two of them meet Byron, Tammy's gay friend, who approves of Michael as her new boyfriend. Shortly thereafter, Tammy's violent and jealous ex-boyfriend Billy arrives with his gang and harasses Michael. A fight erupts between the two. However, the police arrive to break up the fight and take Billy into custody, but Tammy, unable to deal with the events, breaks down and runs away in tears.
The scene then cuts to a figure of a T-Rex in a dark warehouse as two people, Dr. Wachenstein and his assistant Helga, walk through the doors. The lights come on and the T-Rex figure begins to move, being controlled by someone in a room. The Dr. is impressed by the robotic dinosaur's strength, and reveals his plan to implant a living human brain into the robot to give it consciousness, mobility and, "immortality".
Later that night, Michael sneaks out to see Tammy. They are soon interrupted by Billy and his thugs, who chase and catch Michael. They throw him into the wild Animal Park where lions and jaguars run loose. A lion mauls Michael and he is left in a comatose state. He is brought to a hospital where his intoxicated uncle watches over him., what would be the answer ? | Tammy |
91f57750efdef70d5fa3183ad0835d1bd586c451 | What are the names of the people who were fighting until police showed up? | The film opens with Tammy at cheerleader practice, while her boyfriend Michael walks in from football practice to observe. The two of them meet Byron, Tammy's gay friend, who approves of Michael as her new boyfriend. Shortly thereafter, Tammy's violent and jealous ex-boyfriend Billy arrives with his gang and harasses Michael. A fight erupts between the two. However, the police arrive to break up the fight and take Billy into custody, but Tammy, unable to deal with the events, breaks down and runs away in tears.
The scene then cuts to a figure of a T-Rex in a dark warehouse as two people, Dr. Wachenstein and his assistant Helga, walk through the doors. The lights come on and the T-Rex figure begins to move, being controlled by someone in a room. The Dr. is impressed by the robotic dinosaur's strength, and reveals his plan to implant a living human brain into the robot to give it consciousness, mobility and, "immortality".
Later that night, Michael sneaks out to see Tammy. They are soon interrupted by Billy and his thugs, who chase and catch Michael. They throw him into the wild Animal Park where lions and jaguars run loose. A lion mauls Michael and he is left in a comatose state. He is brought to a hospital where his intoxicated uncle watches over him. | Tammy and the T-Rex | https://en.wikipedia.org/wiki/Tammy_and_the_T-Rex | {
"answer_start": [
71,
278
],
"text": [
"Michael",
"Billy"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the names of the people who were fighting until police showed up?, using the article: The film opens with Tammy at cheerleader practice, while her boyfriend Michael walks in from football practice to observe. The two of them meet Byron, Tammy's gay friend, who approves of Michael as her new boyfriend. Shortly thereafter, Tammy's violent and jealous ex-boyfriend Billy arrives with his gang and harasses Michael. A fight erupts between the two. However, the police arrive to break up the fight and take Billy into custody, but Tammy, unable to deal with the events, breaks down and runs away in tears.
The scene then cuts to a figure of a T-Rex in a dark warehouse as two people, Dr. Wachenstein and his assistant Helga, walk through the doors. The lights come on and the T-Rex figure begins to move, being controlled by someone in a room. The Dr. is impressed by the robotic dinosaur's strength, and reveals his plan to implant a living human brain into the robot to give it consciousness, mobility and, "immortality".
Later that night, Michael sneaks out to see Tammy. They are soon interrupted by Billy and his thugs, who chase and catch Michael. They throw him into the wild Animal Park where lions and jaguars run loose. A lion mauls Michael and he is left in a comatose state. He is brought to a hospital where his intoxicated uncle watches over him., what would be the answer ? | Billy |
6776ab2a767954771c658db86e7f70bff7c99ebc | What is the full name of the person who plans on putting a human brain into a dinosaur robot? | The film opens with Tammy at cheerleader practice, while her boyfriend Michael walks in from football practice to observe. The two of them meet Byron, Tammy's gay friend, who approves of Michael as her new boyfriend. Shortly thereafter, Tammy's violent and jealous ex-boyfriend Billy arrives with his gang and harasses Michael. A fight erupts between the two. However, the police arrive to break up the fight and take Billy into custody, but Tammy, unable to deal with the events, breaks down and runs away in tears.
The scene then cuts to a figure of a T-Rex in a dark warehouse as two people, Dr. Wachenstein and his assistant Helga, walk through the doors. The lights come on and the T-Rex figure begins to move, being controlled by someone in a room. The Dr. is impressed by the robotic dinosaur's strength, and reveals his plan to implant a living human brain into the robot to give it consciousness, mobility and, "immortality".
Later that night, Michael sneaks out to see Tammy. They are soon interrupted by Billy and his thugs, who chase and catch Michael. They throw him into the wild Animal Park where lions and jaguars run loose. A lion mauls Michael and he is left in a comatose state. He is brought to a hospital where his intoxicated uncle watches over him. | Tammy and the T-Rex | https://en.wikipedia.org/wiki/Tammy_and_the_T-Rex | {
"answer_start": [
595
],
"text": [
"Dr. Wachenstein"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the person who plans on putting a human brain into a dinosaur robot?, using the article: The film opens with Tammy at cheerleader practice, while her boyfriend Michael walks in from football practice to observe. The two of them meet Byron, Tammy's gay friend, who approves of Michael as her new boyfriend. Shortly thereafter, Tammy's violent and jealous ex-boyfriend Billy arrives with his gang and harasses Michael. A fight erupts between the two. However, the police arrive to break up the fight and take Billy into custody, but Tammy, unable to deal with the events, breaks down and runs away in tears.
The scene then cuts to a figure of a T-Rex in a dark warehouse as two people, Dr. Wachenstein and his assistant Helga, walk through the doors. The lights come on and the T-Rex figure begins to move, being controlled by someone in a room. The Dr. is impressed by the robotic dinosaur's strength, and reveals his plan to implant a living human brain into the robot to give it consciousness, mobility and, "immortality".
Later that night, Michael sneaks out to see Tammy. They are soon interrupted by Billy and his thugs, who chase and catch Michael. They throw him into the wild Animal Park where lions and jaguars run loose. A lion mauls Michael and he is left in a comatose state. He is brought to a hospital where his intoxicated uncle watches over him., what would be the answer ? | Dr. Wachenstein |
5bbb4e431268cc1f1a56327f5362e6782a3d7a3e | What three species does the Zapata Swamp give name to? | The Zapata rail (Cyanolimnas cerverai) is a medium-sized, dark-coloured rail, the only member of the monotypic genus Cyanolimnas. It has brown upperparts, greyish-blue underparts, a red-based yellow bill, white undertail coverts, and red eyes and legs. Its short wings render it almost flightless. It is endemic to the wetlands of the Zapata Peninsula in southern Cuba, where its only known nest was found in sawgrass tussocks. Little is known of its diet or reproductive behaviour, and its described calls may belong to a different species.
The species was discovered by Spanish zoologist Fermín Zanón Cervera in March 1927 in the Zapata Swamp near Santo Tomás, in the southern Matanzas Province of Cuba. The swamp holds one other bird found nowhere else, the Zapata wren, and also gives its name to the Zapata sparrow. Due to ongoing habitat loss in its limited range, its small population size, and predation by introduced mammals and catfish, the Zapata rail is evaluated as critically endangered on the IUCN Red List of threatened species. Tourism and climate change may pose threats in the future. | Zapata rail 0 | https://en.wikipedia.org/wiki/Zapata_rail | {
"answer_start": [
757,
0,
801
],
"text": [
"the Zapata wren",
"The Zapata rail",
"the Zapata sparrow"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What three species does the Zapata Swamp give name to?, using the article: The Zapata rail (Cyanolimnas cerverai) is a medium-sized, dark-coloured rail, the only member of the monotypic genus Cyanolimnas. It has brown upperparts, greyish-blue underparts, a red-based yellow bill, white undertail coverts, and red eyes and legs. Its short wings render it almost flightless. It is endemic to the wetlands of the Zapata Peninsula in southern Cuba, where its only known nest was found in sawgrass tussocks. Little is known of its diet or reproductive behaviour, and its described calls may belong to a different species.
The species was discovered by Spanish zoologist Fermín Zanón Cervera in March 1927 in the Zapata Swamp near Santo Tomás, in the southern Matanzas Province of Cuba. The swamp holds one other bird found nowhere else, the Zapata wren, and also gives its name to the Zapata sparrow. Due to ongoing habitat loss in its limited range, its small population size, and predation by introduced mammals and catfish, the Zapata rail is evaluated as critically endangered on the IUCN Red List of threatened species. Tourism and climate change may pose threats in the future., what would be the answer ? | The Zapata rail |
00fc88f9ebb9d57ed431dd968b8dabf927a0c785 | What does the boy who runs away change his name to? | American burlesque performer Steve Martin offers to play a song for his audience, if they agree to sing along. Only one person does sing, a young boy named Asa Yoelson. Steve is bowled over by the boy's voice, but Asa realizes he should be singing at the synagogue with his father, Cantor Yoelson. Asa arrives late, and is later reprimanded by his strict father. Asa is reluctant to explain where he was, but Steve Martin visits the Yoelsons' home. He explains that he heard Asa sing at the burlesque house, and that he wants Asa to be part of his act. Papa Yoelson refuses to consider it.
Asa is determined to be in the act, and runs away to Baltimore, where he is taken to a home for boys. The kindly superintendent, Father McGee, finds Steve Martin and notifies Asa's parents. When they appear, Asa tells them that he will keep running away until they allow him to go into show business. Asa's mother believes that it would be better to give Asa what he wants than have him running away all the time.
On stage, Asa gets bored with singing songs the same way all the time, and begins to improvise. When his voice suddenly breaks, he starts whistling instead, but is unhappy and wants to go home. Steve says that they can work on stage together - previously Asa has only stood in the audience. Asa changes his mind, and his name: he performs as Al Jolson.
At a show, blackface entertainer Tom Baron passes out drunk, and Al goes on in his place. Two theatrical entrepreneurs, Oscar Hammerstein and Lew Dockstader, are in the audience. Dockstader realizes that it was really Al who was on stage, and hires him join his minstrel show. One night, Jolson is out walking when he hears the new, exciting jazz music; he enjoys it so much that he forgets that he has a show that night. Dockstader fires him. | The Jolson Story | https://en.wikipedia.org/wiki/The_Jolson_Story | {
"answer_start": [
1346
],
"text": [
"Al Jolson"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What does the boy who runs away change his name to?, using the article: American burlesque performer Steve Martin offers to play a song for his audience, if they agree to sing along. Only one person does sing, a young boy named Asa Yoelson. Steve is bowled over by the boy's voice, but Asa realizes he should be singing at the synagogue with his father, Cantor Yoelson. Asa arrives late, and is later reprimanded by his strict father. Asa is reluctant to explain where he was, but Steve Martin visits the Yoelsons' home. He explains that he heard Asa sing at the burlesque house, and that he wants Asa to be part of his act. Papa Yoelson refuses to consider it.
Asa is determined to be in the act, and runs away to Baltimore, where he is taken to a home for boys. The kindly superintendent, Father McGee, finds Steve Martin and notifies Asa's parents. When they appear, Asa tells them that he will keep running away until they allow him to go into show business. Asa's mother believes that it would be better to give Asa what he wants than have him running away all the time.
On stage, Asa gets bored with singing songs the same way all the time, and begins to improvise. When his voice suddenly breaks, he starts whistling instead, but is unhappy and wants to go home. Steve says that they can work on stage together - previously Asa has only stood in the audience. Asa changes his mind, and his name: he performs as Al Jolson.
At a show, blackface entertainer Tom Baron passes out drunk, and Al goes on in his place. Two theatrical entrepreneurs, Oscar Hammerstein and Lew Dockstader, are in the audience. Dockstader realizes that it was really Al who was on stage, and hires him join his minstrel show. One night, Jolson is out walking when he hears the new, exciting jazz music; he enjoys it so much that he forgets that he has a show that night. Dockstader fires him., what would be the answer ? | Al Jolson |
7ea743255b7c43aefa8586945719ae3339cb8cfb | What is the full name of the man who leaves the party to go to Calilfornia? | In 1866, remorseful former border raider Glyn McLyntock is scouting for a wagon train of settlers to Oregon. While he is checking the trail ahead, he rescues Emerson Cole from being lynched for stealing a horse. Cole, who says the horse is "not exactly stolen," thinks he has heard of McLyntock, but does not pursue the subject. One of the pioneers in the wagon train is the eligible Laura Baile. That night, they are attacked by five Shoshone Indians and Laurie is wounded by an arrow. McLyntock and Cole go out to deal with the Shoshones and Cole saves McLyntock's life in the process. McLyntock welcomes Cole, but Jeremy Baile, the leader of the settlers, does not trust Cole and does not believe that a man can change from bad to good.
When they reach Portland, Oregon, Laura remains there to recover. Cole also leaves the party saying that he wants to go to California to find gold. The rest, including McLyntock, go on to establish a settlement in the wilderness after making arrangements with a man named Tom Hendricks for the supplies they need for the winter to be sent on later ("the first week in September"). That night, they have a big party and meet a professional gambler named Trey Wilson. | Bend of the River | https://en.wikipedia.org/wiki/Bend_of_the_River | {
"answer_start": [
158
],
"text": [
"Emerson Cole"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the man who leaves the party to go to Calilfornia?, using the article: In 1866, remorseful former border raider Glyn McLyntock is scouting for a wagon train of settlers to Oregon. While he is checking the trail ahead, he rescues Emerson Cole from being lynched for stealing a horse. Cole, who says the horse is "not exactly stolen," thinks he has heard of McLyntock, but does not pursue the subject. One of the pioneers in the wagon train is the eligible Laura Baile. That night, they are attacked by five Shoshone Indians and Laurie is wounded by an arrow. McLyntock and Cole go out to deal with the Shoshones and Cole saves McLyntock's life in the process. McLyntock welcomes Cole, but Jeremy Baile, the leader of the settlers, does not trust Cole and does not believe that a man can change from bad to good.
When they reach Portland, Oregon, Laura remains there to recover. Cole also leaves the party saying that he wants to go to California to find gold. The rest, including McLyntock, go on to establish a settlement in the wilderness after making arrangements with a man named Tom Hendricks for the supplies they need for the winter to be sent on later ("the first week in September"). That night, they have a big party and meet a professional gambler named Trey Wilson., what would be the answer ? | Emerson Cole |
ac7c8cdb7ba8ee656f7d85fab2af42b62f94b91d | Where does the original owner of the weaving company live? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
481
],
"text": [
"Moray Place"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Where does the original owner of the weaving company live?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Moray Place |
c6702355e6c82f213c9be03f7c5fe64cf594f30a | What movie does the accountant watch? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1216
],
"text": [
"a Sherlock Holmes film"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What movie does the accountant watch?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | a Sherlock Holmes film |
fda26764861371cdeac3e4c4e546f72163e4b480 | How is the tweed manufactured? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
888
],
"text": [
"on crofts where they spin the wool"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: How is the tweed manufactured?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | on crofts where they spin the wool |
a69c3c32ae6116cd68d80db972a563e6b1ff13f3 | What inspires the accountant to kill Mrs. Barrows? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1216
],
"text": [
"a Sherlock Holmes film"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What inspires the accountant to kill Mrs. Barrows?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | a Sherlock Holmes film |
f2f17e918a7756e34ebb01d12f8fa5b6db6a7bcf | Who declines whisky at Moray Place? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
414
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who declines whisky at Moray Place?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
38cbf6c92617109aaf7a1ecb11741fbcce54aa78 | What is the road named where Martin's firm is located? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
366
],
"text": [
"George Street"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the road named where Martin's firm is located?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | George Street |
3c6416c4282bf6d7987071e6d5dc502f1306d2a8 | Who is offered a whisky? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
414
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who is offered a whisky?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
c078513bb73ed37ab22a80b2cb0c5654b988a1c5 | Who is a non-smoker and non-drinker? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1201
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who is a non-smoker and non-drinker?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
cc54ca8eb9d3d0596d93b7953a9a54e8b1db2453 | Who buys a half-bottle of whisky? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1201
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who buys a half-bottle of whisky?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
b1fdce9d3bc9c13e0979a7c6b9c12cb3b8661d30 | What is the name of the company old MacPherson is the owner of? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
335
],
"text": [
"Justerini & Brooks"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the company old MacPherson is the owner of?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Justerini & Brooks |
69aaea72ec97899cba0d50343d0fc35493d59fef | Where is the location of the company old MacPherson is the owner of? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
366
],
"text": [
"George Street"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Where is the location of the company old MacPherson is the owner of?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | George Street |
45f54e694c4fd13a45667f96ed3a82fcc8e6c262 | What is the name of the person old MacPherson offered a whiskey to? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
414,
414
],
"text": [
"Martin",
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the name of the person old MacPherson offered a whiskey to?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
a5706812d3c4dfa023d51dacaa95b42bf5491cb3 | What two things does Martin decide to do at the scene of the planned crime? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1388,
1400
],
"text": [
"smoking",
"drinking"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What two things does Martin decide to do at the scene of the planned crime?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | smoking |
1b7aef28234994bef375dc620382a13894e8c251 | Who decides to mislead an investigation? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1201
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who decides to mislead an investigation?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
9187aa38a2c19cc58caafe09ca61296b2120db3b | Who cannot kill someone? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1201
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who cannot kill someone?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
1c40977df701e4a100ab98748943a8c6815cc9cc | Who tries to remove all evidence? | A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes. | The Battle of the Sexes (1959 film) | https://en.wikipedia.org/wiki/The_Battle_of_the_Sexes_(1959_film) | {
"answer_start": [
1201
],
"text": [
"Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who tries to remove all evidence?, using the article: A timid accountant in a Scottish Tweed weaving company cleverly bests the brash modern American efficiency expert whose ideas threaten his way of life. The film opens with Martin in Edinburgh buying whisky and cigarettes on the Royal Mile. We then see him at work as a head accountant in a very old-fashioned firm in the New Town. The Justerini & Brooks premises in George Street serves as their shop in the film.
Martin is called to the death-bed of the owner, old MacPherson, at Moray Place. He is offered a whisky and declines. Old MacPherson drinks both and promptly dies.
The new owner of the Tweed company, played by Robert Morley, is enamoured of a zealous American woman who is an efficiency expert and who wants to turn her hand to revolutionise the very traditional company. She insists on visiting "the factory" on the island, only to discover the task is done by old couples, on crofts where they spin the wool. She plans to replace the 700 weavers, dotted across the islands, with a single large factory. Whilst being driven through the city she even says the company should change to synthetic fibres, causing the chauffeur to drive into the back of a brewer's dray in the Grassmarket.
Martin watches a Sherlock Holmes film at the cinema and is inspired to kill Mrs Barrows. As he is a non-smoker and a non-drinker, he decides he should mislead any future investigation by smoking and drinking at the scene of the planned crime. He buys a half-bottle of whisky and packet of Capstan cigarettes. In her flat though, after a series of botched attempts his conscience gets the better of him and he cannot kill her. He tries to remove all evidence when Mr MacPherson appears suddenly, and manages to avoid detection. Back in the office MacPherson interrogates Martin and finds his denial more plausible than Mrs Barrows's claims. She cannot take any more, accusing them all of being mad, and she leaves for good. Thus Mr Martin wins his battle of the sexes., what would be the answer ? | Martin |
ad055b2cbf2dee03ad0072f30a4584e85e45cabd | Who heats a utensil he previously used to hit Jerry? | Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats. | The Mouse Comes to Dinner | https://en.wikipedia.org/wiki/The_Mouse_Comes_to_Dinner | {
"answer_start": [
408
],
"text": [
"Tom"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who heats a utensil he previously used to hit Jerry?, using the article: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats., what would be the answer ? | Tom |
1e0dfa253a66b57bbd0c6831608f4c3ab3f1cf7b | Who is lit by a cigar? | Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats. | The Mouse Comes to Dinner | https://en.wikipedia.org/wiki/The_Mouse_Comes_to_Dinner | {
"answer_start": [
1142
],
"text": [
"Jerry"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who is lit by a cigar?, using the article: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats., what would be the answer ? | Jerry |
b6ecc831f5492e88f69af2bc58a90cfd0b8baca3 | What are the names of the people who had a relationship? | Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats. | The Mouse Comes to Dinner | https://en.wikipedia.org/wiki/The_Mouse_Comes_to_Dinner | {
"answer_start": [
1315,
1344
],
"text": [
"Jerry",
"Toots"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the names of the people who had a relationship?, using the article: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats., what would be the answer ? | Toots |
2b1d69004f8ad95d6b4b6f572886512183903d24 | What are the names of the cats who had a relationship? | Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats. | The Mouse Comes to Dinner | https://en.wikipedia.org/wiki/The_Mouse_Comes_to_Dinner | {
"answer_start": [
1315,
1344
],
"text": [
"Jerry",
"Toots"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What are the names of the cats who had a relationship?, using the article: Mammy Two Shoes is preparing a fancy dinner, with both Tom and Jerry observing. Jerry starts eating the cracker spread, but Tom knocks Jerry out by whacking him with a spoon and calls Toots, his love interest, to invite her to dinner. Jerry is forced to perform menial duties for the cats, such as carrying food and blowing on Tom's soup. Annoyed, Jerry drinks the soup and spits it into Tom's face, causing Tom to put the spoon Jerry is standing on over a burning candle to make him hop on both feet and yelp in pain.
As Toots offers Tom bread, Jerry sandwiches Tom's tail between it. Unaware, Tom pours ketchup onto it and bites it, causing him to leap up in pain. Tom is then unaware again, trying to stay cool for his date, as Jerry puts a pineapple slice, cream and cherry onto it, and Tom leaps up after biting it again. Tom grabs Jerry and twists his tail into a champagne-cork opener to make two drinks, launching Jerry into a glass of water.
Tom then tries to hug and kiss his girlfriend, but Toots impressively dodges each attempt. When Tom finally hugs Toots, she takes out a "wolf pacifier" (a mallet) and wallops him with it. As Jerry mocks Tom, Tom puts a cigar into Jerry's mouth, whacks him and lights a cigar onto him, causing Jerry to launch a pie into Tom's face. Tom throws a pie in return, but Jerry ducks and the pie hits Toots, effectively ending the relationship between the two cats., what would be the answer ? | Toots |
478ca48003e3e5244a5179c824c25d017310e132 | Where does the young model begin a relationship with a literary interviewer? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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{{answers.text | choice}}
| A friend asked me to answer this question: Where does the young model begin a relationship with a literary interviewer?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | TV studio |
4a8c0f6ec55a5e75e7cf9ffb816388020b0cd9aa | What is the full name of the woman that the Glass Corporation executive has sex with? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the full name of the woman that the Glass Corporation executive has sex with?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Diana Scott |
f5d65487946e6f303b4e8ac6fec7dffecd557d43 | What are the full names of the people who leave their spouses and move into an apartment together? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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{{answers.text | choice}}
| A friend asked me to answer this question: What are the full names of the people who leave their spouses and move into an apartment together?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Diana Scott |
7ebb0444cb9589e3c646fe3692c9c48a21017dc5 | What are the last names of the people who leave their spouses? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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{{answers.text | choice}}
| A friend asked me to answer this question: What are the last names of the people who leave their spouses?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Scott |
2ee6bda2d25fec042d7c735676bc54e5a8496cbf | What are the first names of the people who leave their spouses? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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{{answers.text | choice}}
| A friend asked me to answer this question: What are the first names of the people who leave their spouses?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Diana |
d9a06bd5b49f203e499ada596f836a2b6e67ff57 | What is the last name of the person who left his children to be with Diana? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who left his children to be with Diana?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Gold |
02930387de8ab1e9a55e22f63d36abfb37b20be0 | What is the last name of the person who got a part in a trashy thriller? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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"Scott"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who got a part in a trashy thriller?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Scott |
5e084c97e18f509487dc0e66a67bb40b3bc423a1 | What is the last name of the person Diana cheats on with Miles? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person Diana cheats on with Miles?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Gold |
684e8d5301d5f65e6a79899d5e9d28b684c000d0 | What is the last name of the person who is quiet and bookish? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
"answer_start": [
99
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"text": [
"Gold"
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} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who is quiet and bookish?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Gold |
2dc46a4e32d7c6eacc5fa1df22407dafbfc90c29 | What is the last name of the person who has an abortion? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
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|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who has an abortion?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Scott |
bfbf920ee3639dc56042efa3a838eba7204d2672 | What is the last name of the person that Diana leaves for Robert? | Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion. | Darling (1965 film) | https://en.wikipedia.org/wiki/Darling_(1965_film) | {
"answer_start": [
62
],
"text": [
"Bridges"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person that Diana leaves for Robert?, using the article: Diana Scott is a beautiful, bored young model married to Tony Bridges. One day, Diana meets Robert Gold, a literary interviewer/director for television arts programmes, by chance when she is spotted on the street by his roving film crew and interviewed by him about young people's views on convention. Diana is invited to watch the final edit in the TV studio and there their relationship starts. After liaisons in bleak hotel rooms they leave their spouses (and, in Robert's case, children) and move into an apartment.
As a couple, they become part of the fashionable London media/arts set. Initially, Diana is jealous when Robert sees his wife while visiting his children, but she quickly loses this attachment when she mixes with the predatory males of the media, arts and advertising scene, particularly Miles Brand, a powerful advertising executive for the "Glass Corporation" who gets her a part in a trashy thriller after she has sex with him. The bookish Robert prefers the quiet life; it is he who now becomes jealous, but increasingly detached, depressed and lonely.
Diana attends a high-class charity draw for world hunger for which she is the face. The event, adorned by giant images of African famine victims, is at the height of cynical hypocrisy and bad taste, showing Diana's rich white set, which now includes the establishment, playing at concern, gorging themselves, gambling and generally behaving decadently.
Already showing signs of stress from constantly maintaining the carefree look demanded by the false, empty lifestyle to which she has become a prisoner, Diana becomes pregnant, and has an abortion., what would be the answer ? | Bridges |
cc45fe94c6b5ecc75ee377f0ed4358741e2b7086 | WHat is the name of the person who becomes a hindrance to the patrol? | During the Japanese invasion of Burma in 1942, a seven-strong British sonic warfare (sonic deception) patrol takes refuge in a dilapidated hut at an abandoned tin mine in the Burmese jungle. Tension rises as they lose radio contact with their command force and learn that that they are cut off from their lines, having stumbled behind an advancing Japanese line. The plot thickens when a lone Japanese scout stumbles across the hut, and his fate becomes the squad's second dilemma. Johnstone grabs the soldier and tells Taff to kill the man with his bayonet. Taff is appalled as he views the soldier as a prisoner of war. Sergeant Mitchem, the man in command of the patrol, commands Johnstone to tie up the prisoner and instructs the group that they need to take the prisoner back to headquarters for interrogation. The men argue about the prisoner's destiny and tempers flare.
Mitchem places Bamforth in charge of the prisoner, which Bamford quickly gives the nickname Tojo. Through broken English the gruff Bamforth comes to realise that Tojo is just a soldier like himself. Johnstone keeps himself at a distance from Tojo and constantly portrays himself as a professional soldier born to fight and serve. Mitchem sends Macleish and Smudge to reconnoiter the area to see if there are any Japanese nearby. The two men encounter a small patrol and see it send to 2 soldiers to find Tojo. Knowing, this puts their patrol in danger, they trail the soldiers with a view to ambushing them. Mac manages to kill one of the men but Smudge is less successful and the remaining soldier escapes. They return to base to warn Mitchem and the patrol. Mitchem is now left facing a fresh dilemma, one which Johnstone spots immediately, he knows that Tojo no longer has any useful information and would be a hindrance to the patrol as they need to move fast. Johnstone steps forward to volunteer to kill Tojo but Mitchem accepts the responsibility himself. | The Long and the Short and the Tall (film) | https://en.wikipedia.org/wiki/The_Long_and_the_Short_and_the_Tall_(film) | {
"answer_start": [
971
],
"text": [
"Tojo"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: WHat is the name of the person who becomes a hindrance to the patrol?, using the article: During the Japanese invasion of Burma in 1942, a seven-strong British sonic warfare (sonic deception) patrol takes refuge in a dilapidated hut at an abandoned tin mine in the Burmese jungle. Tension rises as they lose radio contact with their command force and learn that that they are cut off from their lines, having stumbled behind an advancing Japanese line. The plot thickens when a lone Japanese scout stumbles across the hut, and his fate becomes the squad's second dilemma. Johnstone grabs the soldier and tells Taff to kill the man with his bayonet. Taff is appalled as he views the soldier as a prisoner of war. Sergeant Mitchem, the man in command of the patrol, commands Johnstone to tie up the prisoner and instructs the group that they need to take the prisoner back to headquarters for interrogation. The men argue about the prisoner's destiny and tempers flare.
Mitchem places Bamforth in charge of the prisoner, which Bamford quickly gives the nickname Tojo. Through broken English the gruff Bamforth comes to realise that Tojo is just a soldier like himself. Johnstone keeps himself at a distance from Tojo and constantly portrays himself as a professional soldier born to fight and serve. Mitchem sends Macleish and Smudge to reconnoiter the area to see if there are any Japanese nearby. The two men encounter a small patrol and see it send to 2 soldiers to find Tojo. Knowing, this puts their patrol in danger, they trail the soldiers with a view to ambushing them. Mac manages to kill one of the men but Smudge is less successful and the remaining soldier escapes. They return to base to warn Mitchem and the patrol. Mitchem is now left facing a fresh dilemma, one which Johnstone spots immediately, he knows that Tojo no longer has any useful information and would be a hindrance to the patrol as they need to move fast. Johnstone steps forward to volunteer to kill Tojo but Mitchem accepts the responsibility himself., what would be the answer ? | Tojo |
7bb54e72e6e82d6a88a200fb4490e6fde07f4bb4 | What did the man who wrote the autobiography do for a living? | The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences. | The Hurricane (1999 film) | https://en.wikipedia.org/wiki/The_Hurricane_(1999_film) | {
"answer_start": [
41
],
"text": [
"boxer"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What did the man who wrote the autobiography do for a living?, using the article: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences., what would be the answer ? | boxer |
94abc5b8497a0b1c50599ce122d10c25f6e84f71 | What was the man that Lesra Martin's family helps nicknamed in his boxing days? | The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences. | The Hurricane (1999 film) | https://en.wikipedia.org/wiki/The_Hurricane_(1999_film) | {
"answer_start": [
54
],
"text": [
"The Hurricane"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was the man that Lesra Martin's family helps nicknamed in his boxing days?, using the article: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences., what would be the answer ? | The Hurricane |
11498e776da751955fbdb929d4755accaed20df3 | What's the full name of the person who made the accusation that landed Carter in prison for nearly 20 years? | The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences. | The Hurricane (1999 film) | https://en.wikipedia.org/wiki/The_Hurricane_(1999_film) | {
"answer_start": [
1399
],
"text": [
"Alfred Bello"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What's the full name of the person who made the accusation that landed Carter in prison for nearly 20 years?, using the article: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences., what would be the answer ? | Alfred Bello |
c111a3529f88796f7bb5e2d7b9687689b666343b | Who gets their family to help The Hurricane? | The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences. | The Hurricane (1999 film) | https://en.wikipedia.org/wiki/The_Hurricane_(1999_film) | {
"answer_start": [
436
],
"text": [
"Lesra Martin"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Who gets their family to help The Hurricane?, using the article: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences., what would be the answer ? | Lesra Martin |
732be9ca765f8a5882463e0512bc17a4397f8993 | What was The Hurricane's sentence at the time of conviction? | The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences. | The Hurricane (1999 film) | https://en.wikipedia.org/wiki/The_Hurricane_(1999_film) | {
"answer_start": [
1639
],
"text": [
"three consecutive life sentences."
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What was The Hurricane's sentence at the time of conviction?, using the article: The film tells the story of middleweight boxer Rubin "The Hurricane" Carter, who was convicted of committing a triple murder in a bar in Paterson, New Jersey. His sentence was set aside after he had spent nearly 20 years in prison. The film concentrates on Rubin Carter's life between 1966 and 1985. It describes his fight against the conviction for triple murder and how he copes with nearly 20 years in prison.
A parallel plot follows Lesra Martin, an underprivileged Afro-American youth from Brooklyn, now living in Toronto. In the 1980s, the child becomes interested in Carter's life and circumstances after reading Carter's autobiography. He convinces his Canadian foster family to commit themselves to Carter's case. The story culminates with Carter's legal team's successful pleas to Judge H. Lee Sarokin of the United States District Court for the District of New Jersey.
In 1966, Rubin "The Hurricane" Carter was a top-ranked middleweight boxer, expected by many fans to become the world's greatest boxing champion. When three victims, specifically the club's bartender and a male and a female customer, were shot to death in a bar in Paterson, New Jersey, Carter and his friend John Artis, driving home from another club in Paterson, were stopped and interrogated by the police.
Although the police asserted that Carter and Artis were innocent and thus, "were never suspects," a man named Alfred Bello, a suspect himself in the killings, claimed that Carter and Artis were present at the time of the murders. On the basis of Bello's testimony, Carter and Artis were convicted of the triple homicide in the club, Carter was given three consecutive life sentences., what would be the answer ? | three consecutive life sentences. |
dc0552acb9c12329e4042db9b769966c5ffcad7c | What is the last name of the person who comes under scrutiny from their superiors? | On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision. | The Fall of the Essex Boys | https://en.wikipedia.org/wiki/The_Fall_of_the_Essex_Boys | {
"answer_start": [
1331
],
"text": [
"Stone"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who comes under scrutiny from their superiors?, using the article: On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision., what would be the answer ? | Stone |
b5a8d0460c5fea32c527328853af6b2abf90d8c3 | What is the last name of the person who brutally assaults a pizza restaurant employee? | On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision. | The Fall of the Essex Boys | https://en.wikipedia.org/wiki/The_Fall_of_the_Essex_Boys | {
"answer_start": [
1011
],
"text": [
"Tate"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
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{{answers.text | choice}}
| A friend asked me to answer this question: What is the last name of the person who brutally assaults a pizza restaurant employee?, using the article: On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision., what would be the answer ? | Tate |
1f660096077cefc9fd971523096579456ec46fbb | Where does Nicholls kill three men? | On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision. | The Fall of the Essex Boys | https://en.wikipedia.org/wiki/The_Fall_of_the_Essex_Boys | {
"answer_start": [
851
],
"text": [
"a job in Amsterdam"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: Where does Nicholls kill three men?, using the article: On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision., what would be the answer ? | a job in Amsterdam |
a436cf25221d14e60bb7971c3c75a59508409429 | What is the organization that police are given solid charges against for the first time? | On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision. | The Fall of the Essex Boys | https://en.wikipedia.org/wiki/The_Fall_of_the_Essex_Boys | {
"answer_start": [
625
],
"text": [
"Essex boys"
]
} | Answer Friend Question | A friend asked me to answer this question: {{question}}, using the article: {{context}}, what would be the answer ?
|||
{{answers.text | choice}}
| A friend asked me to answer this question: What is the organization that police are given solid charges against for the first time?, using the article: On a boat in the North Sea, three men are importing drugs into Essex: Mickey Steele, Darren Nicholls and Jack Whomes. Unbeknownst to the other two, Nicholls is a police informant who has told D.I. Stone, a police officer, about the drugs. The drugs, however, still reach Essex because Steele anticipates trouble and sends Whomes away on a boat with the contraband.
It is revealed by Nicholls, who serves as the film's narrator, that the three men are suppliers to an Essex-based drug dealer named Tony Tucker. Tucker, his right-hand man Craig Rolfe and the psychotic Patrick "Pat" Tate serve as the three core members of the Essex boys. The gang grows progressively in stature until a girl falls into a coma and later dies after taking a "pure" ecstasy pill.
Enraged, Tucker and Tate visit Steele and threaten him. To repay them, Steele tells them of a job in Amsterdam, which Nicholls, Tate, Rolfe and Steele successfully complete. Nicholls, however, is wracked with guilt after killing three men. Meanwhile, Tate sees himself as "unstoppable" and cheats on his partner Karen, only for her to leave him for Steele. He also brutally assaults a pizza restaurant employee because the employee refuses to make a bespoke pizza for Tate's new partner, giving the police solid charges against a member for the first time. Despite this, Stone tells the employee to drop the charges as he knows a longer-term conviction is needed. Nevertheless, he comes under scrutiny from his superiors for this decision., what would be the answer ? | Essex boys |