In this task, you're given a question, along with three passages, 1, 2, and 3. Your job is to determine which passage can be used to answer the question by searching for further information using terms from the passage. Indicate your choice as 1, 2, or 3.
Q: Question: How long had Fenway Art School been operating the year Vassos moved to Boston? Passage 1:Born in what is now Opava in Silesia, Weidt was the daughter of composer and Kapellmeister Heinrich Weidt, who was one of her first teachers, along with Rosa Papier. For most of her career she was on the roster of the Vienna State Opera, beginning in 1903 and continuing until 1926. She first succeeded Sophie Sedlmair, who was retiring, and soon began sharing major Wagner roles with Anna Bahr-Mildenburg. She also became known for her portrayal of Leonore in Fidelio, and she created for Vienna the Marschallin in Der Rosenkavalier. For Milan she was the first Kundry. Between 1908 and 1910 she appeared in Munich. During the 1910–11 season Weidt was on the roster of the Metropolitan Opera, singing Brünnhilde in both Die Walküre and Siegfried and Elisabeth in Tannhäuser. In 1912 she was singing in Buenos Aires. She won praise from Leoš Janáček for her portrayal of Kostelnička in Jenůfa at its Vienna premiere in 1918. The following year she created the role of the Nurse in Die Frau ohne Schatten for the same company. Weidt died in Vienna.
 Passage 2:Vassos moved to Boston, Massachusetts in 1919, where he attended the Fenway Art School at night. He studied alongside American artist John Singer Sargent and worked as an assistant for Joseph Urban. In 1924 he moved to New York, where he attended the Art Students League of New York, studying under George Bridgman, John Sloan, and others. He opened his own studio creating window displays for department stores, like Wanamakers, murals, and advertisements for Saks Fifth Avenue, Bonwit Teller, and Packard Motor Cars in his unique black and white illustrated style. At the same time, he illustrated a series of books by Oscar Wilde for E.P. Dutton followed by others including Phobia on which he based his life-long design focus on psychology, his area of expertise as noted by Fortune Magazine's list of top designers in the country. He entered the emergent field of industrial design and was hired by rapidly-growing RCA Victor, under the leadership of David Sarnoff, who discovered Vassos while painting murals at the WCAU skyscraper in Philadelphia. The company had recently acquired Victor Phonograph, built Radio City, and owned NBC Broadcasting, but needed to amplify and modernize their radio manufacturing business. By hiring Vassos, an up-and-coming industrial designer who created their first Styling department, launched Vassos on a four-decade relationship with the company for whom he designed hundreds of items, while also consulting for numerous other clients like Coca-Cola, Waterman, Universal Artists, Remington, and the United States Government. Vassos's work as an interior designer included the Chrysler Building apartment of photographer Margaret Bourke-White, Nedick's Hot Dog stands, displays for RCA in department stores and the World's Fair,and many others for which he employed modular furniture. He eschewed trendy styles like the extreme-streamlined look, popular in the 1930s, and favored the clean, modern look unadorned with unnecessary elements. He expressed his design philosophy for magazines like Pencil Points and in lectures on modern design and art. Although he was hailed as a top designer in the United States during the 1930s, he slipped away from the spotlight of his industrial design peers like Raymond Loewy, Henry Dreyfuss, and Norman Bel Geddes, largely because he did not open a large firm. Unique among the industrial designers of the 20th century, his work was focused on the intersections between interior decorating, furniture design, and the shapes of phonographs, radios and televisions. His contributions include creating a futuristic living room including television, the slide rule dial on radios, emphasis on the haptic experience of media (knobs and buttons), and the "user experience," years before this term was coined.
 Passage 3:Christine Goodale's official fields of research are ecology and evolutionary biology as well as Soil and Crop Sciences. She has experience in a wide variety of scientific topics, including acid rain, carbon sequestration, climate change, forest ecosystems, nitrogen cycling and retention, and watershed processes. Goodale is an ecosystem ecologist whose research focuses mainly on forest ecosystems, including the role that forests play in important water cycle processes and regulation of atmospheric greenhouse gases, as well as the impacts that afflict forest ecosystems as a result of human activities. Goodale specifically focuses on nutrients like carbon and nitrogen, and her lab is dedicated to understanding the impact that elevated nitrogen levels have on forest ecosystem processes, and the way that these ecosystems manage the excess nitrogen. Goodale and her team examine these impacts across multiple spatial and temporal levels, from plots in a watershed to whole continents, utilizing a combination of field studies, ecosystem modeling, and acquired regional data sets to help answer their main research questions. Her past research has taken place mainly in the forests of the Northeastern United States, primarily forests in the White Mountains of New Hampshire and central New York.

A:
2