Problem: Given the question: Given the below context:  Thomson's most famous paintings are his depictions of pine trees, particularly The Jack Pine and The West Wind. David Silcox has described these paintings as "the visual equivalent of a national anthem, for they have come to represent the spirit of the whole country, notwithstanding the fact that vast tracts of Canada have no pine trees", and as "so majestic and memorable that nearly everyone knows them". Arthur Lismer described them similarly, saying that the tree in The West Wind was a symbol of the Canadian character, unyielding to the wind and emblematic of steadfastness and resolution.Thomson had a great enthusiasm for trees and worked to capture their forms, their surrounding locations, and the effect of the seasons on them. He normally depicted trees as amalgamated masses, giving "form structure and colour by dragging paint in bold strokes over an underlying tone". His favourite motif was of a slight hill next to a body of water. His enthusiasm is especially apparent in an anecdote from Ernest Freure, who invited Thomson to camp on an island on Georgian Bay: One day while we were together on my island, I was talking to Tom about my plans for cleaning up the dead wood and trees and I said I was going to cut down all the trees but he said, "No, don't do that, they are beautiful." The theme of the single tree is common in Art Nouveau, while the motif of the lone, heroic tree goes back even further to at least Caspar David Friedrich and early German Romanticism. Thomson may also have been influenced by the work of MacDonald while working at Grip Limited. MacDonald in turn was influenced by the landscape art of John Constable, whose work he likely saw while in England from 1903 to 1906. Constable's art influenced Thomson's as well, something apparent when Constable's Stoke-by-Nayland (c. 1810–11) is compared with Thomson's Poplars by a Lake.Thomson's earlier paintings were closer to literal renderings of the trees in front of him, and as he progressed the trees became more expressive as Thomson amplified...  Guess a valid title for it!
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The answer is:
Tom Thomson


Problem: Given the question: Given the below context:  A new science teacher, Miss Sandra Beecher, (Halle Berry) at Kona Pali High School in Hawaii pushes a group of students to come up with a science project. With a combination of design vision, mechanical skills, knowledge of batteries, and lightweight drivers, the students design and build a solar-powered car they name "Cockroach."  Their team manages to outperform a corporate-sponsored car and win the local Big Island competition by correctly predicting cloudy weather based on the surfing experience of the student captain, Daniel. Cloudy weather would make their vehicle's battery capacity a more important factor than its weight. With the shop teacher as chaperone, the students travel to Australia to compete in the World Solar Challenge. To the relief of their corporate sponsor, who is still bitter over the loss of his company-built vehicle in Hawaii, their car is delayed at the very start of the race. However, the students choose to persevere and remain in the race. A sand storm and other difficulties provide occasions for heroism. Uni Kakamura pilots the car through difficult terrain, but has an accident and is rescued by Gilbert. After Cindy is disqualified from driving for drinking alcohol, Eduardo puts aside his "lolo-haole" conflict with Daniel and reduces the car to allow the overweight Gilbert to drive so that the team can finish the race.  Guess a valid title for it!
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The answer is:
Race the Sun


Problem: Given the question: Given the below context:  A number of plates in this group reveal a scepticism towards idolatry of religious images. There are instances in the group where early Christian iconography, in particular statues and processional images, are mocked and denigrated. Plate 67, Esta no lo es menos (This is no less curious), shows two statues carried by two stooped members of clergy. One statue is recognisable as the "Virgin of Solitude". In Goya's image, the statue is not carried vertically in processional triumph, rather it lies flat and undignified on the backs of the two almost crouched men. Shown horizontal, the object loses its aura, and becomes a mere everyday object. Art critics Victor Stoichita and Anna Maria Coderch wrote, "It is in effect a deposed, toppled image, stripped of its powers and its connotations." Goya is making a general statement: that the Church's attempts to support and restore the Bourbons were "illusory, since what they proposed was nothing more than the adoration of an empty form".The published edition of The Disasters of War ends as it begins; with the portrayal of a single, agonized figure. The last two plates show a woman wearing a wreath, intended as a personification of Spain, Truth, or the Constitution of 1812—which Ferdinand had rejected in 1814. In plate 79, Murió la Verdad (The Truth has died), she lies dead. In plate 80, Si resucitará? (Will she live again?), she is shown lying on her back with breasts exposed, bathed in a halo of light before a mob of "monks and monsters". In plate 82, Esto es lo verdadero (This is the true way), she is again bare-breasted and apparently represents peace and plenty. Here, she lies in front of a peasant.  Guess a valid title for it!
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The answer is:
The Disasters of War