input: Please answer the following: Given the below context: Kertesz emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancee Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jeno later emigrated to Argentina. Elizabeth Kertesz remained until her future husband was well enough established in Paris that they could marry. Kertesz was among numerous Hungarian artists who emigrated during these decades, including Francois Kollar, Robert Capa, Emeric Feher, Brassai, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period. Initially Kertesz took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain. Soon after arriving in Paris, Kertesz changed his first name to Andre, which he kept for the rest of his life. In Paris he found critical and commercial success. In 1927 Kertesz was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the "Sacre du Printemps Gallery". Kertesz had become connected with members of the growing Dada movement. Paul Dermee dubbed him "Brother Seer" and "Brother Seeing Eye" during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertesz was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertesz's proofs was set at US$20 ($ 367 in 2019), a large sum of money during the Great Depression.Kertesz and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created photo portraits of painters Piet Mondrian and Marc Chagall, the writer Colette, and film-maker Sergei Eisenstein. In 1928, Kertesz switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine... Guess a valid title for it!
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output: Andre Kertesz
Please answer this: Given the below context: Eakins referred to the painting as Swimming in 1885, and as The Swimmers in 1886. The title The Swimming Hole dates from 1917 (the year after Eakins died), when the work was so described by the artist's widow, Susan Macdowell Eakins. Four years later, she titled the work The Old Swimming Hole, in reference to the 1882 poem The Old Swimmin'-Hole; by James Whitcomb Riley. The Amon Carter Museum has since returned to Eakins' original title, Swimming.The painting shows Eakins and five friends or students bathing at Dove Lake, an artificial lake in Mill Creek outside Philadelphia. Each of the men is looking at the water, in the words of Martin A. Berger, "apparently lost in a contemplative moment". Eakins' precise rendering of the figures has enabled scholars to identify all those depicted in the work. They are (from left to right): Talcott Williams (18491928), Benjamin Fox (c. 1865 c. 1900), J. Laurie Wallace (18641953), Jesse Godley (18621889), Harry the dog (Eakins' Irish Setter, c. 188090), George Reynolds (c. 183989), and Eakins himself. The rocky promontory on which several of the men rest is the foundation of the Mill Creek mill, which was razed in 1873. It is the only sign of civilization in the workno shoes, clothes, or bath houses are visible. The foliage in the background provides a dark background against which the swimmers' skin tones contrast. The positioning of the bodies and their musculature refers to classical ideals of physical beauty and masculine camaraderie evocative of Greek art. The reclining figure is a paraphrase of the Dying Gaul, and is juxtaposed with the far less formal self-depiction by the artist. It is possible that Eakins was seeking to reconcile an ancient theme with a modern interpretation; the subject was contemporary, but the poses of some of the figures recall those of classical sculpture. One possible influence by a contemporary source was Scene d'ete, painted in 1869 by Frederic Bazille (184170). It is not unlikely that Eakins saw the painting at the Salon while... Guess a valid title for it!
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Answer: The Swimming Hole
input question: Given the below context: While driving his Dual-Ghia from Las Vegas to Los Angeles, lecherous, heavy-drinking pop singer Dino is forced to detour through Climax, Nevada. There he meets the amateur songwriting team of Barney Millsap, a gas station attendant, and piano teacher Orville J. Spooner, a man easily given to jealousy. Hoping to interest Dino in their songs, Barney disables the "Italian" sports car and tells Dino he will need to remain in town until new parts arrive from Milan. (Dual-Ghia was actually an American marque, mating a Dodge frame, drivetrain, and engine with Italian coachwork.) Orville invites Dino to stay with him and wife Zelda, but becomes concerned when he learns the singer needs to have sex every night to avoid awakening with a headache. Anxious to accommodate Dino but safeguard his marriage, Orville provokes an argument with his wife that leads to Zelda fleeing in tears. He and Barney then arrange for Polly the Pistol, a waitress and prostitute at a saloon on the edge of town called the Belly Button, to pose as Orville's wife and satisfy Dino. That evening after the three have dinner, Orville plays his tunes for Dino on the piano and Polly requests a particular song. It is one she knows he wrote for his wife when trying to persuade her to marry him. Doing so, Orville gets lost in emotion, as does Polly, who has fallen a little for the dream of a domestic life that she doesn't have. Under the influence of wine and song, Orville starts thinking of Polly as his wife and tosses Dino out. He then spends the night with Polly. Guess a valid title for it!???
output answer:
Kiss Me, Stupid