Please answer this: Given the below context:  The painting shows the moment from Summer in which Musidora, having removed the last of her clothes, steps into "the lucid coolness of the flood" to "bathe her fervent limbs in the refreshing stream". Damon is not shown; instead, Etty illustrates the scene from Damon's viewpoint. By placing the audience in Damon's position, Etty aimed to induce the same reactions in the viewer as Damon's dilemma as described by Thomson; that of whether to enjoy the spectacle despite knowing it to be inappropriate, or to follow the accepted morality of the time and look away, in what art historian Sarah Burnage has described as "a titillating moral test for spectators to both enjoy and overcome".The pose of Musidora is based on that of the Aphrodite of Cnidus and the Venus de' Medici. It is possible that Etty was also familiar with Thomas Gainsborough's Musidora, which shares similar elements. Gainsborough's Musidora, his only large nude, was never exhibited in his lifetime and remained in private hands until 1847, but Etty was familiar with its then-owner Robert Vernon and may have seen it in his collection. The setting for the painting is a pool in the grounds of The Plantation, a house in the village of Acomb, near York. The Plantation was the home of his close friend and patron the Reverend Isaac Spencer, vicar of Acomb, and its grounds were a scene Etty had previously painted. In 1846 Etty bought a house in York for his retirement; Burnage speculates that Etty chose Acomb on the grounds that a view of York was quintessentially English.Although Etty had traditionally worked in the Venetian style of painting, with rich colours and detail, for Musidora he adopted a much softer and earthier palette, although his use of reflected light on flesh is derived from Venetian styles. He moved away from Rubens, who up to this time had been his greatest influence, and closer to the style of Titian. This is likely owing to the nature of the subject matter. Until then his history paintings had primarily been of themes of classical...  Guess a valid title for it!
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Answer: Musidora: The Bather 'At the Doubtful Breeze Alarmed'


Please answer this: Given the below context:  Doménikos Theotokópoulos (Greek: Δομήνικος Θεοτοκόπουλος [ðoˈminikos θeotoˈkopulos]; October 1541 –  7 April 1614), most widely known as El Greco ("The Greek"), was a Greek painter, sculptor and architect of the Spanish Renaissance. "El Greco" was a nickname, a reference to his Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος, Doménikos Theotokópoulos, often adding the word Κρής Krēs, Cretan. El Greco was born in the Kingdom of Candia, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance taken from a number of great artists of the time, notably Tintoretto. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings. El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.  Guess a valid title for it!
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Answer: El Greco


Please answer this: 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