input: Please answer the following: Given the below context:  Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleries—three in Australia and one in South Africa—a record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 1840–1940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales.  Guess a valid title for it!
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output: Florence Fuller


input: Please answer the following: Given the below context:  In 1897, Andrée's daring or foolhardy undertaking nourished Swedish patriotic pride and Swedish dreams of taking the scientific lead in the Arctic. The title of Engineer—Ingenjör Andrée—was generally and reverentially used in speaking of him, and expressed high esteem for the late 19th-century ideal of the engineer as a representative of social improvement through technological progress. The three explorers were fêted when they departed and mourned by the nation when they disappeared. When they were found, they were celebrated for the heroism of their doomed two-month struggle to reach populated areas and were seen as having selflessly perished for the ideals of science and progress. The procession carrying their mortal remains from the ships into Stockholm on 5 October 1930, writes Swedish historian of ideas Sverker Sörlin, "must be one of the most solemn and grandiose manifestations of national mourning that has ever occurred in Sweden. One of the rare comparable events is the national mourning that followed the Estonia disaster in the Baltic Sea in September 1994."More recently, Andrée's heroic motives have been questioned, beginning with Per Olof Sundman's bestselling semi-documentary novel of 1967, The Flight of the Eagle. Sundman portrays Andrée as the victim of the demands of the media and the Swedish scientific and political establishment, and as ultimately motivated by fear rather than courage. Sundman's interpretation of the personalities involved, the blind spots of the Swedish national culture, and the role of the press are reflected in the film adaptation, Flight of the Eagle (1982), based on his novel and directed by Jan Troell. It was nominated for an Academy Award. Appreciation of Nils Strindberg's role seems to be growing, both for the fortitude with which the untrained and unprepared student kept photographing, in what must have been a more or less permanent state of near-collapse from exhaustion and exposure, and for the artistic quality of the result. Out of the 240 exposed frames that...  Guess a valid title for it!
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output: Andrée's Arctic balloon expedition


input: Please answer the following: Given the below context:  In early 1969, Quaife told the band he was leaving. The other members did not take his statement seriously, until an article appeared in New Musical Express on 4 April featuring Quaife's new band, Maple Oak, which he had formed without telling the rest of the Kinks. Ray Davies pleaded with him to return for the sessions for their upcoming album, but Quaife refused. Davies immediately called up John Dalton, who had filled in for Quaife in the past, as a replacement. Dalton remained with the group until 1977, when the album Sleepwalker was released.Ray Davies travelled to Los Angeles in April 1969 to help negotiate an end to the American Federation of Musicians' ban on the group, opening up an opportunity for them to return to touring in the US. The group's management quickly made plans for a North American tour, to help restore their standing in the US pop music scene. Before their return to the US, the Kinks recorded another album, Arthur (Or the Decline and Fall of the British Empire). As with the previous two albums, Arthur was grounded in characteristically English lyrical and musical hooks. A modest commercial success, it was well received by American music critics. Conceived as the score for a proposed but unrealised television drama, much of the album revolved around themes from the Davies brothers' childhood; their sister Rosie, who had migrated to Australia in the early 1960s with her husband, Arthur Anning, the album's namesake; and life growing up during the Second World War. The Kinks embarked on their tour of the US in October 1969. The tour was generally unsuccessful, as the group struggled to find cooperative promoters and interested audiences; many of the scheduled concert dates were cancelled. The band did, however, manage to play a few major venues such as the Fillmore East and Whisky a Go Go.  Guess a valid title for it!
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output: The Kinks


input: Please answer the following: Given the below context:  From the days of 78 rpm discs, when relatively little modern music was being put on record, Walton was favoured by the record companies. In 1929 the small, new Decca company recorded eleven movements from Façade, with the composer conducting a chamber ensemble, with the speakers Edith Sitwell and Walton's friend and colleague Constant Lambert.       In the 1930s, Walton also had two of his major orchestral works on disc, both on Decca, the First Symphony recorded by Harty and the London Symphony Orchestra, and the Viola Concerto with Frederick Riddle and the LSO conducted by the composer. In the 1940s Walton moved from Decca to its older, larger rival, EMI. The EMI producer Walter Legge arranged a series of recordings of Walton's major works and many minor ones over the next twenty years; a rival composer expressed the view that if Walton had an attack of flatulence (he used an earthier expression), Walter Legge would record it.Walton himself, although a reluctant conductor, conducted many of the EMI recordings, and some for other labels. He made studio recordings of the First Symphony, the Viola Concerto, the Violin Concerto, the Sinfonia Concertante, the Façade Suites, the Partita, Belshazzar's Feast, and suites from his film scores for Shakespeare plays and The First of the Few. Some live performances conducted by Walton were recorded and have been released on compact disc, including the Cello Concerto and the Coronation Te Deum.Almost all Walton's works have been recorded for commercial release. EMI published a "Walton Edition" of his major works on CD in the 1990s, and the recording of the Chandos Records "Walton Edition" of his works was completed in 2010. His best-known works have been recorded by performers from many countries. Among the frequently recorded are Belshazzar's Feast, the Viola and Violin Concertos and the First Symphony, which has had more than twenty recordings since Harty's 1936 set.  Guess a valid title for it!
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output:
William Walton