input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the name of the company whose chairman in 1962 became Lionel Hooke?  The Hut Point and Cape Evans huts remain, protected by the Antarctic Heritage Trust and the New Zealand government. Within the Cape Evans hut an inscription by Richards on the wall near his bunk, listing the names of those lost, can still be read, but the generally deteriorating condition of the huts has caused concern.The Aurora survived for less than a year after her final return from the Ross Sea. Shackleton had sold her for £10,000, and her new role was as a coal-carrier between Australia and South America.  She disappeared in the Pacific Ocean, on or about 2 January 1918, having either foundered in a storm or been sunk by an enemy raider.  Aboard her was James Paton of the Ross Sea ship's party, who was still serving as her boatswain. Ernest Wild was also a victim of the First World War.  He died of typhoid in Malta, on 10 March 1918, while serving with the Royal Navy in the Mediterranean.On 4 July 1923, Joyce and Richards were awarded Albert Medals by George V for their bravery and life-saving efforts during the second depot-laying journey.  Wild and Victor Hayward received the same award, posthumously. Many of the survivors enjoyed long and successful careers.  The young wireless operator, Lionel Hooke, joined Amalgamated Wireless Australasia Ltd and was responsible for many technological innovations.  He became the company's managing director in 1945 and its chairman in 1962, having been knighted for services to industry in 1957. Of the four dogs who survived the trek, Con was killed by the other dogs in a fight before the rescue. The others, Oscar, Gunner and Towser, returned in the ship to New Zealand and were placed in Wellington Zoo, where Oscar lived, allegedly, to the age of 25. Near the end of his life Dick Richards, the last survivor of the party, was without regrets and did not regard the struggle as futile.  Rather, he believed, it was something that the human spirit had accomplished, and that no undertaking carried through to conclusion was for nothing.
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output: Amalgamated Wireless Australasia Ltd


input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the last name of the person whose bandshell raised $25 million from donors?  That month, the city announced that the Pritzker family had donated $15 million to fund Gehry's bandshell and an additional nine donors committed a total of $10 million. The day of this announcement, after it became clear that Cindy Pritzker would fund the project, Gehry agreed to the design request. In November, when his designs for both the pavilion and bridge were unveiled, Gehry already had the basic design for the bandshell, but said the bridge's design was very preliminary and not well-conceived because funding for it was not committed. The BP Pedestrian Bridge is designed to serve as a buffer against street noise, helping the pavilion's acoustics.According to the Guggenheim Museum, the Jay Pritzker Pavilion "suggests musical qualities", much like Gehry's Experience Music Project in Seattle, Washington. The Pritzker Pavilion follows a series of open-air projects by Gehry, such as the Merriweather Post Pavilion in Columbia, Maryland, the Concord Performing Arts Center in Concord, California, and numerous renovations to the Hollywood Bowl in Hollywood, California.
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output: Gehry


input: Please answer the following: Read the following paragraph and extract the answer for the question: What is the last name of the person who exhibited 15 paintings at the Summer Exhibition in the 1820s?  William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as...
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output: Etty


input: Please answer the following: Read the following paragraph and extract the answer for the question: What was the last name of the person who showed his ambitious history painting at the 1834 Salon?  Given the standings of the two men, the painting was received in both social and political terms. A number of writers mentioned Bertin's eventful career, in tones that were, according to art historian Andrew Carrington Shelton, either "bitingly sarcastic [or] fawningly reverential". There were many satirical reproductions and pointed editorials in the following years. Aware of Bertin's support of the July Monarchy, writers at the La Gazette de France viewed the portrait as the epitome of the "opportunism and cynicism" of the new regime. Their anonymous critic excitedly wondered "what bitter irony it expresses, what hardened skepticism, sarcasm and ... pronounced cynicism".Several critics mentioned Bertin's hands. Twentieth-century art historian Albert Boime described them as "powerful, vulturine ... grasping his thighs in a gesture ... projecting ... enormous strength controlled". Some contemporary critics were not so kind. The photographer and critic Félix Tournachon was harshly critical, and disparaged what he saw as a "fantastical bundle of flesh ... under which, instead of bones and muscles, there can only be intestines – this flatulent hand, the rumbling of which I can hear!" Bertin's hands made a different impression on the critic F. de Lagenevais, who remarked: "A mediocre artist would have modified them, he would have replaced those swollen joints with the cylindrical fingers of the first handy model; but by this single alteration he would have changed the expression of the whole personality ... the energetic and mighty nature".The work's realism attracted a large amount of commentary when it was first exhibited. Some saw it as an affront to Romanticism, others said that its small details not only showed an acute likeness, but built a psychological profile of the sitter. Art historian Geraldine Pelles sees Bertin as "at once intense, suspicious, and aggressive". She notes that there is a certain amount of projection of the artist's personality and recalls Théophile Silvestre's description of Ingres;...
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output:
Ingres