Given the below context:  The album cover features a photograph of Dylan with Suze Rotolo. It was taken in February 1963—a few weeks after Rotolo had returned from Italy—by CBS staff photographer Don Hunstein at the corner of Jones Street and West 4th Street in the West Village, New York City, close to the apartment where the couple lived at the time. In 2008, Rotolo described the circumstances surrounding the famous photo to The New York Times: "He wore a very thin jacket, because image was all. Our apartment was always cold, so I had a sweater on, plus I borrowed one of his big, bulky sweaters. On top of that I put on a coat. So I felt like an Italian sausage. Every time I look at that picture, I think I look fat." In her memoir, A Freewheelin' Time, Rotolo analyzed the significance of the cover art: It is one of those cultural markers that influenced the look of album covers precisely because of its casual down-home spontaneity and sensibility. Most album covers were carefully staged and controlled, to terrific effect on the Blue Note jazz album covers ... and to not-so great-effect on the perfectly posed and clean-cut pop and folk albums. Whoever was responsible for choosing that particular photograph for The Freewheelin' Bob Dylan really had an eye for a new look.  Critic Janet Maslin summed up the iconic impact of the cover as "a photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging".The cover photo is recreated in the 2001 Tom Cruise film Vanilla Sky.  Guess a valid title for it!
Ans: The Freewheelin' Bob Dylan

Given the below context:  Minnesota is known for a politically active citizenry, and populism has been a long-standing force among the state's political parties. Minnesota has a consistently high voter turnout. In the 2008 U.S. presidential election, 78.2% of eligible Minnesotans voted—the highest percentage of any U.S. state—versus the national average of 61.2%. Voters can register on election day at their polling places with evidence of residency.Hubert Humphrey brought national attention to the state with his address at the 1948 Democratic National Convention. Minnesotans have consistently cast their Electoral College votes for Democratic presidential candidates since 1976, longer than any other state. Minnesota is the only state in the nation that did not vote for Ronald Reagan in either of his presidential runs. Minnesota has gone for the Democratic Party in every presidential election since 1960, with the exception of 1972, when it was carried by Republican Richard Nixon. Both the Democratic and Republican parties have major-party status in Minnesota, but its state-level "Democratic" party is actually a separate party, officially known as the Minnesota Democratic-Farmer-Labor Party (DFL). It was formed out of a 1944 alliance of the Minnesota Democratic and Farmer-Labor parties. The state has had active third-party movements. The Reform Party, now the Independence Party, was able to elect former mayor of Brooklyn Park and professional wrestler Jesse Ventura to the governorship in 1998. The Independence Party has received enough support to keep major-party status. The Green Party, while no longer having major-party status, has a large presence in municipal government, notably in Minneapolis and Duluth, where it competes directly with the DFL party for local offices. Major-party status in Minnesota (which grants state funding for elections) is reserved to parties whose candidates receive five percent or more of the vote in any statewide election (e.g., Governor, Secretary of State, U.S. President). The state's U.S. Senate seats...  Guess a valid title for it!
Ans: Minnesota

Given the below context:  The Early Netherlandish masters' influence reached artists such as Stefan Lochner and the painter known as the Master of the Life of the Virgin, both of whom, working in mid-15th-century Cologne, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; Ulm, Nuremberg, Vienna and Munich were the most important artistic centres in the Holy Roman Empire at the start of the 16th century. There was a rise in demand for printmaking (using woodcuts or copperplate engraving) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as Jan Gossaert made copies, such as his reworking of van Eyck's Madonna in the Church. Gerard David linked the styles of Bruges and Antwerp, often travelling between the cities. He moved to Antwerp in 1505, when Quentin Matsys was the head of the local painters' guild, and the two became friends.By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht Dürer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the artists, sponsoring their travel and exposing them to new and wide-ranging influences. Hieronymus Bosch, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forewent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's Crucifixion and Last Judgement diptych. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the...  Guess a valid title for it!
Ans: Early Netherlandish painting

Given the below context:  The identity of the donor has not been established, although a number of suggestions have been advanced over the last 200 years. Harbison suggests the work's small scale indicates that it functioned as a portable altarpiece rather than as a private devotional work, and thus was commissioned by or for a member of the clergy. Other art historians have argued that the donor may have been a Genoese merchant. This belief has been fed by the triptych's similarity to Giovanni Mazone's Virgin and Child altarpiece in Pontremoli, Tuscany, which may place it in the Italian region of Liguria at latest by the end of the 15th century. Damaged coats of arms on the inner frames have been linked to the Giustiniani family, known for establishing trade links with Bruges in the 14th and 15th centuries. If not commissioned by that family, historical record place the work at least in their possession by the end of the century. In the early 1800s, Frances Weale attempted to place Michele Giustiniani as the donor, however later historical research has been unable to verify his presence in Bruges around 1437, and he seems to have returned to Italy by 1430.Mid-twentieth century technical examination revealed the Giustiniani coats of arms may have been painted over an earlier heraldic design, perhaps as early as the 15th century, whose signifiance and history is now lost. Dhanens theorises that a member of the Giustiniani family may have established other associations with St. Michael and St. Catherine, advancing that they were a member of the Italian Rapondi family, whose trading house in Paris was named after St. Catherine. Their daughter, also named Catherine, married the Italian merchant Michel Burlamacchi (Bollemard in Flemish) from Lucca, who was active in Bruges. From this Dhanens theorises the piece was commissioned as a wedding gift for the couple. Documents show weavers in Wervik paid taxes to Catherine Rapondi and in September 1434, when Michele Burlamacchi was tax collector in that town, van Eyck received a stipend funded...  Guess a valid title for it!
Ans: Dresden Triptych