[Q]: Given the below context:  In 1859 Burges began work with Ambrose Poynter on the Maison Dieu, Dover, which was completed in 1861. Emulation of the original medieval style can be seen in his renovation of the grotesque animals and in the coats of arms incorporated into his new designs. Burges later designed the Council Chamber, added in 1867, and in 1881 began work on Connaught Hall in Dover, a town meeting and concert hall. The new building contained meeting rooms and mayoral and official offices. Although Burges designed the project, most of it was completed after his death by his partners, Pullan and Chapple. The listed status of the Maison Dieu was reclassified as Grade I in 2017 and Dover District Council, the building's owner, is seeking grant funding to enable a restoration, focussing on Burges's work.In 1859–60, Burges took over the restoration of Waltham Abbey from Poynter, working with Poynter's son Edward Poynter and with furniture makers Harland and Fisher. He commissioned Edward Burne-Jones of James Powell & Sons to make three stained-glass windows for the east end, representing the Tree of Jesse. The Abbey is a demonstration of Burges's skills as a restorer, with "a profound sensitivity towards medieval architecture." Mordaunt Crook wrote of Burges's interior that, "it meets the Middle Ages as an equal." In 1861–2, Burges was commissioned by Charles Edward Lefroy, secretary to the Speaker of the House of Commons, to build All Saints Church, Fleet, as a memorial to Lefroy's wife. She was the daughter of James Walker, who established the marine engineering company of Walker and Burges with Burges's father Alfred, and this family connection brought Burges the commission. Pevsner says of Fleet that "it has no shape, nor character nor notable buildings, except one," that one being All Saints. The church is of red brick and Pevsner considered it "astonishingly restrained." The interior too is simply decorated but the massive sculpture, particularly of the tomb of the Lefroys and of the gabled arch below which the tomb originally...  Guess a valid title for it!
****
[A]: William Burges


[Q]: Given the below context:  Gauguin was foremost a painter; he came to ceramics around 1886, when he was taught by the French sculptor and ceramist Ernest Chaplet. They had been introduced by Félix Bracquemond who, inspired by the new French art pottery, was experimenting with the form. During that winter of 1886–87, Gauguin visited Chaplet's workshop at Vaugirard, where they collaborated on stoneware pots with applied figures or ornamental fragments and multiple handles. Gauguin first visited Tahiti in 1891 and, attracted by the beauty of Tahitian women, undertook a set of sculptural mask-like portraits on paper. They evoke both melancholy and death, and conjure the state of faaturuma (brooding or melancholy); imagery and moods later used in the Oviri ceramic. Gauguin's first wood carvings in Tahiti were with a guava wood that quickly crumbled and have not survived. He completed Oviri in the winter of 1894, during his return from Tahiti, and submitted it to the Société Nationale des Beaux-Arts 1895 salon opening in April the following year. There are two versions of what ensued: Charles Morice claimed in 1920 that Gauguin was "literally expelled" from the exhibition; in 1937 Ambroise Vollard wrote that the piece was admitted only when Chaplet threatened to withdraw his own works in protest. According to Bengt Danielsson, Gauguin was keen to increase his public exposure and availed of this opportunity by writing an outraged letter to Le Soir, bemoaning the state of modern ceramics.At the outset of 1897, Vollard addressed a letter to Gauguin about the possibility of casting his sculptures in bronze. Gauguin's response centred on Oviri: I believe that my large statue in ceramic, the Tueuse ("The Murderess"), is an exceptional piece such as no ceramist has made until now and that, in addition, it would look very well cast in bronze (without retouching and without patina). In this way the buyer would not only have the ceramic piece itself, but also a bronze edition with which to make money. Art historian Christopher Gray mentions three...  Guess a valid title for it!
****
[A]: Oviri


[Q]: Given the below context:  Oliver Hardy and Stan Laurel are vagabonds being chased by the police. They hide in the cellar of the mansion of a Quatermain-esque adventurer, Colonel Wilburforce Buckshot, who departs for a safari in South Africa. The mansion is to be rented out until his return, but the staff sneak off for a holiday, leaving the house empty. The boys are surrounded by police and have to deceive a honeymooning couple wanting to rent the house. Ollie disguises himself as Buckshot and Stan disguises himself as both butler Hives and chambermaid Agnes. During a girl-talk scene with Thelma Todd and Stan (disguised as Agnes), Stan's comments get sillier and sillier. The real Colonel returns to fetch his bow and arrows, to find the disorder that had ensued after his departure. Ollie continues his masquerade as Colonel Buckshot to the real colonel, until he sees the portrait on the wall of the real owner. Stan and Ollie escape the ensuing row dressed as a wildebeest on a stolen tandem bicycle. They ride into a railroad tunnel and encounter a train, but emerge riding unicycles.  Guess a valid title for it!
****
[A]: Another Fine Mess


[Q]: Given the below context:  In an American suburb in Northern New Jersey, conservative, middle-aged Indian immigrant Gopal, a telephone-company engineer who has taken early retirement, is celebrating Diwali in November with his wife and grown daughter. His daughter suddenly tells him that she is leaving indefinitely to teach English in Mongolia with her German boyfriend. As Gopal recovers from this shock and tries to talk her out of it, largely on the grounds that she will be living in sin in his eyes, his wife Madhu announces that she is leaving him as well, and is taking up the spiritual life in an ashram in India. Confused, mortified, bored, and directionless, newly single Gopal lies to his few Indian-American acquaintances about the situation, and refuses to answer his daughter's phone calls from Mongolia. He tries to cope with his emptiness by redecorating slightly, searching through the various corners of his small house, reading newspapers, and watching videos of Bollywood romance extravaganza films. Desperately lonely, he latches upon a copy of Cosmopolitan magazine that had belonged to his daughter, and takes a quiz gauging a man's suitability for a relationship – which reveals that he is a "Ditchable Dude". In the midst of his distress and his Bollywood fantasies, Gopal's eccentric neighbor, the oddly attractive divorcée Mrs. Shaw – whom he had previously thought of as loose-moralled (because of her one-night stands) and slovenly – appears at his door asking to borrow one of his rakes. This sets off a whole new set of fantasies on his part. A few nights later Gopal sees her on her porch nursing a drink, and after a tentative conversation, asks her to have Thanksgiving dinner with him at home the next day. While cleaning and straightening for the date, Gopal finds several more of his daughter's Cosmopolitans, and reads several articles on "What women want" from a man – evidently it is for them to "listen, listen, listen".  Guess a valid title for it!
****
[A]:
Cosmopolitan (film)