Please answer this: This article: The boar was an important symbol in prehistoric Europe, where, according to the archaeologist Jennifer Foster, it was "venerated, eulogised, hunted and eaten ... for millennia, until its virtual extinction in recent historical time." Anglo-Saxon boar symbols follow a thousand years of similar iconography, coming after La Tene examples in the fourth century BC, Gaulish specimens three centuries later, and Roman boars in the fourth century AD. They likely represent a fused tradition of European and Mediterranean cultures. The boar is said to have been sacred to a mother goddess figure among linguistically Celtic communities in Iron Age Europe, while the Roman historian Tacitus, writing around the first century AD, suggested that the Baltic Aesti wore boar symbols in battle to invoke her protection. Boar-crested helmets are depicted on the turn-of-the-millennium Gundestrup cauldron, discovered in Denmark, and on a Torslunda plate from Sweden, made some five hundred years later. Though the Romans also included the boar in their stable of symbolsfour legions, including the twentieth, adopted it as their emblemit was only one among many. The boar nonetheless persisted in continental Germanic tradition during the nearly 400 years of Roman rule in Britain, such as in association with the Scandinavian gods Freyja and Freyr. Its return to prominence in the Anglo-Saxon period, as represented by the boars from Benty Grange, Wollaston, Guilden Morden, and Horncastle, may therefore suggest the post-Roman reintroduction of a Germanic tradition from Europe, rather than the continuation of a tradition in Britain through 400 years of Roman rule. Whatever its precise symbolism, the Anglo-Saxon boar appears to have been associated with protection; the Beowulf poet makes this clear, writing that boar symbols on helmets kept watch over the warriors wearing them. contains an answer for the question: What had a return to prominence in the Anglo-Saxon period?, what is it ?
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Answer: Anglo-Saxon boar

Please answer this: This article: William Etty was born in 1787 in York, the son of a miller and baker. He showed artistic promise from an early age, but his family were financially insecure, and at the age of 12 he left school to become an apprentice printer in Hull. On completing his seven-year indenture he moved to London "with a few pieces of chalk-crayons in colours", with the aim of emulating the Old Masters and becoming a history painter. Etty gained acceptance to the Royal Academy Schools in early 1807. After a year spent studying under renowned portrait painter Thomas Lawrence, Etty returned to the Royal Academy, drawing at the life class and copying other paintings. In 1821 the Royal Academy exhibited one of Etty's works, The Arrival of Cleopatra in Cilicia (also known as The Triumph of Cleopatra). The painting was extremely well received, and many of Etty's fellow artists greatly admired him. He was elected a full Royal Academician in 1828, ahead of John Constable. He became well respected for his ability to capture flesh tones accurately in painting and for his fascination with contrasts in skin tones. Following the exhibition of Cleopatra, Etty attempted to reproduce its success, concentrating on painting further history paintings containing nude figures. He exhibited 15 paintings at the Summer Exhibition in the 1820s (including Cleopatra), and all but one contained at least one nude figure. In so doing Etty became the first English artist to treat nude studies as a serious art form in their own right, capable of being aesthetically attractive and of delivering moral messages. Although some nudes by foreign artists were held in private English collections, Britain had no tradition of nude painting, and the display and distribution of nude material to the public had been suppressed since the 1787 Proclamation for the Discouragement of Vice. The supposed prurient reaction of the lower classes to his nude paintings caused concern throughout the 19th century. Many critics condemned his repeated depictions of female nudity as... contains an answer for the question: What is the last name of the English artist whose portraits of male nudes were generally well received?, what is it ?
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Answer: Etty

Please answer this: This article: November 9, 1965: Margaret Garrison is a stage actress who has spent her career starring in virginal roles, although she would relish the opportunity to play someone less savory, such as an Italian prostitute, at least once before she retires. When a blackout shutters her current Broadway play for the night, she returns home unexpectedly and discovers her architect husband Peter being overly attentive to attractive reporter Roberta Lane. Infuriated, she heads to the couple's weekend house in Connecticut and takes a concoction to fall asleep. When corporate embezzler Waldo Zane, fleeing New York with an attache case full of money, develops car trouble near Margaret's weekend house, he lets himself in and unwittingly takes some of the elixir himself, falling into a deep sleep beside her. Peter shows up, sees the two together and assumes his wife has been unfaithful. Despite their claims of innocence and ignorance, Peter believes neither of them and heads back to Manhattan. Margaret's agent Ladislaus Walichek, anxious because she has announced her plan to retire, keeps her husband's jealousy burning in the hope their marriage will crumble and she'll be forced to continue working to support herself. Margaret and Peter eventually reconcile, but new questions about what really happened when the lights went out arise when she gives birth exactly nine months after that fateful night. contains an answer for the question: What is the full name of the person that Peter's interactions with the reporter infuriate?, what is it ?
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Answer:
Margaret Garrison