Q: Given the below context:  Like other Spanish liberals, Goya was left in a difficult position after the French invasion. He had supported the initial aims of the French Revolution, and hoped its ideals would help liberate Spain from feudalism to become a secular, democratic political system. There were two conflicts being fought in Spain: the resistance against the French threat, and a domestic struggle between the ideals of liberal modernisation and the pre-political incumbent ruling class. The latter divide became more pronounced—and the differences far more entrenched—following the eventual withdrawal of the French.Several of Goya's friends, including the poets Juan Meléndez Valdés and Leandro Fernández de Moratín, were overt afrancesados: the supporters (or collaborators, in the view of many) of Joseph Bonaparte. He maintained his position as court painter, for which an oath of loyalty to Joseph was necessary. However, Goya had an instinctive dislike of authority, and witnessed first-hand the subjugation of his countrymen by French troops. During these years he painted little aside from portraits of figures from all parties, including an allegorical painting of Joseph Bonaparte in 1810, Wellington from 1812 to 1814, and French and Spanish generals. Meanwhile, Goya was working on drawings that would form the basis for The Disasters of War. He visited many battle sites around Madrid to witness the Spanish resistance. The final plates are testament to what he described as "el desmembramiento d'España"—the dismemberment of Spain.  Guess a valid title for it!
A: The Disasters of War

Q: Given the below context:  In October, MacDonald introduced Thomson to Dr. James MacCallum. A frequent visitor to the Ontario Society of Artists' (OSA) exhibitions, MacCallum was admitted to the Arts and Letters Club in January 1912. There, he met artists such as John William Beatty, Arthur Heming, MacDonald and Harris. MacCallum eventually persuaded Thomson to leave Rous and Mann and start a painting career. In October 1913, MacCallum introduced Thomson to A. Y. Jackson, later a founder of the Group of Seven. MacCallum recognized Thomson's and Jackson's talents and offered to cover their expenses for one year if they committed themselves to painting full time. MacCallum and Jackson both encouraged Thomson to "take up painting seriously, [but] he showed no enthusiasm. The chances of earning a livelihood by it did not appear to him promising. He was sensitive and independent, and feared he might become an object of patronage." MacCallum wrote that when he first saw Thomson's sketches, he recognized their "truthfulness, their feeling and their sympathy with the grim fascinating northland ... they made me feel that the North had gripped Thomson as it had gripped me since I was eleven when I first sailed and paddled through its silent places." He described Thomson's paintings as "dark, muddy in colour, tight and not wanting in technical defects". After Thomson's death, MacCallum helped preserve and advocate for his work.Thomson accepted MacCallum's offer under the same terms offered to Jackson. He travelled around Ontario with his colleagues, especially to the wilderness of Ontario, which was to become a major source of inspiration. Regarding Algonquin Park, he wrote in a letter to MacCallum: "The best I can do does not do the place much justice in the way of beauty." He ventured to rural areas near Toronto and tried to capture the surrounding nature. He may have worked as a fire ranger on the Mattagami reserve. Addison and Little suggest that he guided fishing tours, although Hill finds this unlikely since Thomson had only spent a few...  Guess a valid title for it!
A: Tom Thomson

Q: Given the below context:  In addition to the knighthood bestowed in 1911, Wood's state honours were his appointments as Companion of Honour in 1944, to the Order of the Crown (Belgium; 1920), and Officer of the Legion of Honour (France; 1926). He received honorary doctorates from five English universities and was a fellow of both the Royal Academy of Music (1920) and the Royal College of Music (1923). Jacobs lists 26 compositions dedicated to Wood, including, in addition to the Vaughan Williams Serenade to Music, works by Elgar, Delius, Bax, Marcel Dupré and Walton. The Poet Laureate, John Masefield, composed a poem of six verses in his honour, entitled "Sir Henry Wood", often referred to by its first line, "Where does the uttered music go?". Walton set it to music as an anthem for mixed choir; it received its first performance on 26 April 1946 at St Sepulchre's, on the occasion of a ceremony unveiling a memorial stained-glass window in Wood's honour.Wood is commemorated in the name of the Henry Wood Hall, the deconsecrated Holy Trinity Church in Southwark, which was converted to a rehearsal and recording venue in 1975. His bust stands upstage centre in the Royal Albert Hall during the whole of each Prom season, decorated by a chaplet on the Last Night of the Proms. His collection of 2,800 orchestral scores and 1,920 sets of parts is now in the library of the Royal Academy of Music. For the Academy he also established the Henry Wood Fund, giving financial aid to students. The University of Strathclyde named a building at its Jordanhill campus after him. His best-known memorial is the Proms, officially "the Henry Wood Promenade Concerts", but universally referred to by the informal short version.His biographer Arthur Jacobs wrote of Wood: His orchestral players affectionately nicknamed him "Timber" – more than a play on his name, since it seemed to represent his reliability too. His tally of first performances, or first performances in Britain, was heroic: at least 717 works by 357 composers. Greatness as measured by finesse of...  Guess a valid title for it!
A: Henry Wood

Q: Given the below context:  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...  Guess a valid title for it!
A:
Britomart Redeems Faire Amoret