input: Andrew Jackson Downing, the charismatic landscape architect from Newburgh, New York, was one of the first who proposed the development of New York's Central Park in his role as publisher of The Horticulturist magazine. A friend and mentor to Olmsted, Downing introduced him to the English-born architect Calvert Vaux. Downing had brought Vaux from England as his architect collaborator. After Downing died in July 1852, in a widely publicized steamboat explosion on the Hudson River, Olmsted and Vaux entered the Central Park design competition together, against Egbert Ludovicus Viele among others. Vaux had invited the less experienced Olmsted to participate in the design competition with him, having been impressed with Olmsted's theories and political contacts. Prior to this, in contrast with the more experienced Vaux, Olmsted had never actually designed and executed a landscape design.  They were announced as winners in 1858. On his return from the South, Olmsted began executing their plan almost immediately. Olmsted and Vaux continued their informal partnership to design Prospect Park in Brooklyn from 1865 to 1873. That was followed by other projects. Vaux remained in the shadow of Olmsted's grand public personality and social connections.  The design of Central Park embodies Olmsted's social consciousness and commitment to egalitarian ideals. Influenced by Downing and his own observations regarding social class in England, China, and the American South, Olmsted believed that the common green space must always be equally accessible to all citizens, and was to be defended against private encroachment. This principle is now fundamental to the idea of a "public park", but was not assumed as necessary then. Olmsted's tenure as park commissioner in New York was a long struggle to preserve that idea.

Answer this question "when was their design actually implemented?"
output: On his return from the South, Olmsted began executing their plan almost immediately.

input: Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art. She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing.  Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer--joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image).  Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.

Answer this question "where did she teach?"
output: in the studio

input: Courbet finished his prison sentence on 2 March 1872, but his problems caused by the destruction of the Vendome Column were still not over. In 1873, the newly elected president of the Republic, Patrice Mac-Mahon, announced plans to rebuild the column, with the cost to be paid by Courbet. Unable to pay, Courbet went into a self-imposed exile in Switzerland to avoid bankruptcy. In the following years, he participated in Swiss regional and national exhibitions. Surveilled by the Swiss intelligence service, he enjoyed in the small Swiss art world the reputation as head of the "realist school" and inspired younger artists such as Auguste Baud-Bovy and Ferdinand Hodler.  Important works from this period include several paintings of trout, "hooked and bleeding from the gills", that have been interpreted as allegorical self-portraits of the exiled artist. In his final years, Courbet painted landscapes, including several scenes of water mysteriously emerging from the depths of the earth in the Jura Mountains of the France-Switzerland border. Courbet also worked on sculpture during his exile. Previously, in the early 1860s, he had produced a few sculptures, one of which--the Fisherman of Chavots (1862)--he donated to Ornans for a public fountain, but it was removed after Courbet's arrest.  On 4 May 1877, Courbet was told the estimated cost of reconstructing the Vendome Column; 323,091 francs and 68 centimes. He was given the option paying the fine in yearly installments of 10,000 francs for the next 33 years, until his 91st birthday. On 31 December 1877, a day before the first installment was due, Courbet died, aged 58, in La Tour-de-Peilz, Switzerland, of a liver disease aggravated by heavy drinking.

Answer this question "What is his most famous work?"
output:
Important works from this period include several paintings of trout, "hooked and bleeding from the gills", that have been interpreted as allegorical self-portraits of the exiled artist.