Given the below context:  The "ship portrait" had a long history in maritime art, from medieval seals and coins to early engravings in the 15th century, and the plain side-on view of a ship under sail, often with no crew shown, was well established as the most effective way of recording the build of vessels.  The Anthony Roll belongs to a genre of works that was intended to serve a dual role for the king and the military leadership: as reasonably informative overviews listing details of ships or strategic areas of coastlines they could be studied to determine strengths and weaknesses, and as boastful and lively depictions of Tudor military might they could be used to flatter the king, impress courtiers and impose martial authority on foreign ambassadors. Contemporary maps, or "plats", were routinely decorated with detailed pictures of ships, to mark bodies of water as much as to liven up the scenes. Such maps were common at the time, and were even embellished by artists if deemed too simple or drab. The navy was expanded during Henry VIII's reign, and he was known to take an interest in warships, as can be seen by the epic painting Embarkation of Henry VIII at Dover which portrayed, if rather unrealistically, the ships that took the 29-year-old king to the summit meeting with Francis I of France at the Field of the Cloth of Gold in 1520. This painting, recently dated to around 1545, has also been suggested as a likely source of inspiration to Anthony for his illustrations.There are three such plats depicting naval actions and expeditions that are attributed to Anthony: the route of Anne of Cleves from the Low Countries to England (1539), a French attack on a coastal fort (date unknown) and a French raid on Brighton (July 1545). The design of the ships in these paintings, especially that of the Brighton raid, closely match those in the rolls. It is not known exactly when work on the rolls began nor when it was finished. It is only certain that it was presented to the king the year it was dated, 1546. The inclusion of the Mary Rose that...  Guess a valid title for it!
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Answer: Anthony Roll


Q: Given the below context:  During Ruisdael's last period he began to depict mountain scenes, such as Mountainous and Wooded Landscape with a River, dateable to the late 1670s. This portrays a rugged range with the highest peak in the clouds. Ruisdael's subjects became unusually varied. The art historian Wolfgang Stechow identified thirteen themes within the Dutch Golden Age landscape genre, and Ruisdael's work encompasses all but two of them, excelling at most: forests, rivers, dunes and country roads, panoramas, imaginary landscapes, Scandinavian waterfalls, marines, beachscapes, winter scenes, town views, and nocturnes. Only the Italianate and foreign landscapes other than Scandinavian are absent from his oeuvre.The imaginary landscapes of gardens that Ruisdael painted in the 1670s actually reflect an ongoing discourse on the picturesque in circles of gardening aesthetes like Constantijn Huygens. Slive finds it appropriate that a windmill is the subject of one of Ruisdael's most famous works. Windmill at Wijk bij Duurstede, dated 1670, shows Wijk bij Duurstede, a riverside town about 20 kilometres (12 mi) from Utrecht, with a dominant cylindrical windmill. In this composition, Ruisdael united typical Dutch elements of low-lying land, water and expansive sky, so that they converge on the equally characteristic Dutch windmill. The painting's enduring popularity is evidenced by card sales in the Rijksmuseum, with the Windmill ranking third after Rembrandt's Night Watch and Vermeer's View of Delft. Windmills featured throughout Ruisdael's entire career.Various panoramic views of the Haarlem skyline and its bleaching grounds appear during this stage, a specific genre called Haerlempjes, with the clouds creating various gradations of alternating bands of light and shadow towards the horizon. The paintings are often dominated by Saint Bavo's Church, in which Ruisdael would one day be buried.While Amsterdam does feature in his work, it does so relatively rarely given that Ruisdael lived there for over 25 years. It does feature in his only...  Guess a valid title for it!
A: Jacob van Ruisdael


Given the below context:  A young woman in labour makes her way to a parish workhouse and dies after giving birth to a boy, who is systematically named Oliver Twist by the workhouse authorities. As the years go by, Oliver and the rest of the child inmates suffer from the callous indifference of the officials in charge: beadle Mr. Bumble and matron Mrs. Corney. At the age of nine, the hungry children draw straws; Oliver loses and has to ask for a second helping of gruel ("Please sir, I want some more"). For his impudence, he is promptly apprenticed to the undertaker Mr. Sowerberry, from whom he receives somewhat better treatment. However, when another worker, Noah, maligns his dead mother, Oliver flies into a rage and attacks him, earning the orphan a whipping. Oliver runs away to London. The Artful Dodger, a skilled young pickpocket, notices him and takes him to Fagin, an old Jew who trains children to be pickpockets. Fagin sends Oliver to watch and learn as the Dodger and another boy try to rob Mr. Brownlow, a rich, elderly gentleman. Their attempt is detected, but it is Oliver who is chased through the streets by a mob and arrested. A witness clears him. Mr. Brownlow takes a liking to the boy, and gives him a home. Oliver experiences the kind of happy life he has never had before, under the care of Mr. Brownlow and the loving housekeeper, Mrs. Bedwin. Meanwhile, Fagin is visited by the mysterious Monks, who has a strong interest in Oliver. He sends Monks to Bumble and Mrs. Corney (now Bumble's domineering wife); Monks buys from them the only thing that can identify Oliver's parentage, a locket containing his mother's portrait.  Guess a valid title for it!
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Answer:
Oliver Twist (1948 film)