Question:
Ralph Bakshi (born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 2015, he directed ten theatrically released feature films, six of which he wrote. He has been involved in numerous television projects as director, writer, producer and animator.
After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact. Bakshi said, "The illusion I attempted to create was that of a completely live-action film. Making it work almost drove us crazy." Hey Good Lookin' is set in Brooklyn during the 1950s; its lead characters are Vinnie, the leader of a gang named "The Stompers", his friend Crazy Shapiro and their girlfriends, Roz and Eva. Vinnie and Crazy Shapiro were based on Bakshi's high school friends Norman Darrer and Allen Schechterman. Warner Bros. optioned the screenplay and greenlit the film in 1973. An initial version of Hey Good Lookin' was completed in 1975. A three-minute promo of this version was screened at the 1975 Cannes Film Festival, and the film was scheduled for a Christmas 1975 release, but was moved to the summers of 1976 and later 1977, before ultimately being postponed indefinitely. Warner Bros. was concerned about any controversy the film would encounter as a result of the backlash over the film Coonskin, and felt that the film was "unreleasable" because of its mix of live action and animation, and it would not spend further money on the project. Bakshi financed the film's completion himself from the director's fees for other projects such as Wizards, The Lord of the Rings and American Pop. The live-action sequences of Hey Good Lookin' were gradually replaced by animation; among the eliminated live-action sequences was one featuring the glam punk band New York Dolls. Singer Dan Hicks worked on the initial musical score, but the final version was scored by John Madara. Hey Good Lookin' opened in New York City on October 1, 1982, and was released in Los Angeles in January 1983. The film's release was limited, and went largely unnoticed in the United States, although it garnered respectable business in foreign markets. In a brief review, Vincent Canby wrote that it was "not exactly incoherent, but whatever it originally had on its mind seems to have slipped away". Animation historian Jerry Beck wrote, "the beginning of the film is quite promising, with a garbage can discussing life on the streets with some garbage. This is an example of what Bakshi did best--using the medium of animation to comment on society. Unfortunately, he doesn't do it enough in this film. There is a wildly imaginative fantasy sequence during the climax, when the character named Crazy starts hallucinating during a rooftop shooting spree. This scene almost justifies the whole film. But otherwise, this is a rehash of ideas better explored in Coonskin, Heavy Traffic, and Fritz the Cat." The film has since gained a cult following through cable television and home video. Quentin Tarantino stated that he preferred Hey Good Lookin' to Martin Scorsese's Mean Streets.
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Why did the film get created?

Answer:
After production concluded on Harlem Nights, Bakshi wanted to distinguish himself artistically by producing a film in which live action and animated characters would interact.

Question:
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages. Celtic art is a difficult term to define, covering a huge expanse of time, geography and cultures. A case has been made for artistic continuity in Europe from the Bronze Age, and indeed the preceding Neolithic age; however archaeologists generally use "Celtic" to refer to the culture of the European Iron Age from around 1000 BC onwards, until the conquest by the Roman Empire of most of the territory concerned, and art historians typically begin to talk about "Celtic art" only from the La Tene period (broadly 5th to 1st centuries BC) onwards. Early Celtic art is another term used for this period, stretching in Britain to about 150 AD.
From the 5th to the mid-9th centuries, the art of the Picts is primarily known through stone sculpture, and a smaller number of pieces of metalwork, often of very high quality; there are no known illuminated manuscripts. The Picts shared modern Scotland with a zone of Irish cultural influence on the west coast, including Iona, and the Anglo-Saxon kingdom of Northumbria to the south. After Christianization, Insular styles heavily influenced Pictish art, with interlace prominent in both metalwork and stones. Pictish stones are assigned by scholars to 3 classes. Class I Pictish stones are unshaped standing stones incised with a series of about 35 symbols which include abstract designs (given descriptive names such as crescent and V-rod, double disc and Z-rod, 'flower' and so on by researchers); carvings of recognisable animals (bull, eagle, salmon, adder and others), as well as the Pictish Beast, and objects from daily life (a comb, a mirror). The symbols almost always occur in pairs, with in about one-third of cases the addition of the mirror, or mirror and comb, symbol, below the others. This is often taken to symbolise a woman. Apart from one or two outliers, these stones are found exclusively in north-east Scotland from the Firth of Forth to Shetland. Good examples include the Dunnichen and Aberlemno stones (Angus), and the Brandsbutt and Tillytarmont stones (Aberdeenshire). Class II stones are shaped cross-slabs carved in relief, or in a combination of incision and relief, with a prominent cross on one, or in rare cases two, faces. The crosses are elaborately decorated with interlace, key-pattern or scrollwork, in the Insular style. On the secondary face of the stone, Pictish symbols appear, often themselves elaborately decorated, accompanied by figures of people (notably horsemen), animals both realistic and fantastic, and other scenes. Hunting scenes are common, Biblical motifs less so. The symbols often appear to 'label' one of the human figures. Scenes of battle or combat between men and fantastic beasts may be scenes from Pictish mythology. Good examples include slabs from Dunfallandy and Meigle (Perthshire), Aberlemno (Angus), Nigg, Shandwick and Hilton of Cadboll (Easter Ross). Class III stones are in the Pictish style, but lack the characteristic symbols. Most are cross-slabs, though there are also recumbent stones with sockets for an inserted cross or small cross-slab (e.g. at Meigle, Perthshire). These stones may date largely to after the Scottish takeover of the Pictish kingdom in the mid 9th century. Examples include the sarcophagus and the large collection of cross-slabs at St Andrews (Fife). The following museums have important collections of Pictish stones: Meigle (Perthshire), St Vigeans (Angus) and St Andrew's Cathedral (Fife) (all Historic Scotland), the Museum of Scotland, Edinburgh (which also exhibits almost all the major pieces of surviving Pictish metalwork), the Meffan Institute, Forfar (Angus), Inverness Museum, Groam House Museum, Rosemarkie and Tarbat Discovery Centre, Portmahomack (both Easter Ross) and Tankerness House Museum, Kirkwall, Orkney.
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Where else?

Answer:
the Meffan Institute, Forfar (Angus), Inverness Museum, Groam House Museum, Rosemarkie and Tarbat Discovery Centre,