Problem: The following article contains an answer for the question: What are the first names of the two Chapman brothers for whom Goya's series of etching served as a constant point of reference? , can you please find it?   Despite being one of the most significant anti-war works of art, The Disasters of War had no impact on the European consciousness for two generations, as it was not seen outside a small circle in Spain until it was published by Madrid's Royal Academy of San Fernando in 1863. Since then, interpretations in successive eras have reflected the sensibilities of the time. Goya was seen as a proto-Romantic in the early 19th century, and the series' graphically rendered dismembered carcasses were a direct influence on Théodore Géricault, best known for the politically charged Raft of the Medusa (1818–19). Luis Buñuel identified with Goya's sense of the absurd, and referenced his works in such films as the 1930 L'Âge d'Or, on which he collaborated with Salvador Dalí, and his 1962 The Exterminating Angel.The series' impact on Dalí is evident in Soft Construction with Boiled Beans (Premonition of Civil War), painted in 1936 in response to events leading to the Spanish Civil War. Here, the distorted limbs, brutal suppression, agonised expressions and ominous clouds are reminiscent of plate 39, Grande hazaña! Con muertos! (A heroic feat! With dead men!), in which mutilated bodies are shown against a backdrop barren landscape.In 1993, Jake and Dinos Chapman of the Young British Artists movement created 82 miniature, toy-like sculptures modelled on The Disasters of War. The works were widely acclaimed and purchased that year by the Tate gallery. For decades, Goya's series of etching served as a constant point of reference for the Chapman brothers; in particular, they created a number of variations based on the plate Grande hazaña! Con muertos!. In 2003, the Chapman brothers exhibited an altered version of The Disasters of War. They purchased a complete set of prints, over which they drew and pasted demonic clown and puppy heads. The Chapmans described their "rectified" images as making a connection between Napoleon's supposed introduction of Enlightenment ideals to early-19th-century Spain and Tony Blair and George W. Bush...

A: Jake


Problem: The following article contains an answer for the question: What is the last name of the person whose output was confined to relatively minor pieces and revisions to earlier works after 1926? , can you please find it?   Jean Sibelius's Symphony No. 8 was his final major compositional project, occupying him intermittently from the mid-1920s until around 1938, though he never published it. During this time Sibelius was at the peak of his fame, a national figure in his native Finland and a composer of international stature. A fair copy of at least the first movement was made, but how much of the Eighth Symphony was completed is unknown. Sibelius repeatedly refused to release it for performance, though he continued to assert that he was working on it even after he had, according to later reports from his family, burned the score and associated material, probably in 1945. Much of Sibelius's reputation, during his lifetime and subsequently, derived from his work as a symphonist. His Seventh Symphony of 1924 has been widely recognised as a landmark in the development of symphonic form, and at the time there was no reason to suppose that the flow of innovative orchestral works would not continue. However, after the symphonic poem Tapiola, completed in 1926, his output was confined to relatively minor pieces and revisions to earlier works. During the 1930s the Eighth Symphony's premiere was promised to Serge Koussevitzky and the Boston Symphony Orchestra on several occasions, but as each scheduled date approached Sibelius demurred, claiming that the work was not ready for performance. Similar promises made to the British conductor Basil Cameron and to the Finnish Georg Schnéevoigt likewise proved illusory. It is thought that Sibelius's perfectionism and exalted reputation prevented him ever completing the symphony to his satisfaction; he wanted it to be even better than his Seventh. After Sibelius's death in 1957, news of the Eighth Symphony's destruction was made public, and it was assumed that the work had disappeared forever. But in the 1990s, when the composer's many notebooks and sketches were being catalogued, scholars first raised the possibility that fragments of the music for the lost symphony might have survived. Since...

A: Sibelius


Problem: The following article contains an answer for the question: What was the full name of the committee who put forward 21 demands outside the shipyard's gate on August 17? , can you please find it?   On August 16, delegations from other strike committees arrived at the shipyard. Delegates (Bogdan Lis, Andrzej Gwiazda and others) together with shipyard strikers agreed to create an Inter-Enterprise Strike Committee (Międzyzakładowy Komitet Strajkowy, or MKS). On August 17 a priest, Henryk Jankowski, performed a mass outside the shipyard's gate, at which 21 demands of the MKS were put forward. The list went beyond purely local matters, beginning with a demand for new, independent trade unions and going on to call for a relaxation of the censorship, a right to strike, new rights for the Church, the freeing of political prisoners, and improvements in the national health service.Next day, a delegation of KOR intelligentsia, including Tadeusz Mazowiecki, arrived to offer their assistance with negotiations. A bibuła news-sheet, Solidarność, produced on the shipyard's printing press with KOR assistance, reached a daily print run of 30,000 copies. Meanwhile, Jacek Kaczmarski's protest song, Mury (Walls), gained popularity with the workers.On August 18, the Szczecin Shipyard joined the strike, under the leadership of Marian Jurczyk. A tidal wave of strikes swept the coast, closing ports and bringing the economy to a halt. With KOR assistance and support from many intellectuals, workers occupying factories, mines and shipyards across Poland joined forces. Within days, over 200 factories and enterprises had joined the strike committee. By August 21, most of Poland was affected by the strikes, from coastal shipyards to the mines of the Upper Silesian Industrial Area (in Upper Silesia, the city of Jastrzębie-Zdrój became center of the strikes, with a separate committee organized there, see Jastrzębie-Zdrój 1980 strikes). More and more new unions were formed, and joined the federation.

A:
Międzyzakładowy Komitet Strajkowy