Please answer this: Given the below context: After the Great War, Moore received an ex-serviceman's grant to continue his education and in 1919 he became a student at the Leeds School of Art (now Leeds College of Art), which set up a sculpture studio especially for him. At the college, he met Barbara Hepworth, a fellow student who would also become a well-known British sculptor, and began a friendship and gentle professional rivalry that lasted for many years. In Leeds, Moore also had access to the modernist works in the collection of Sir Michael Sadler, the University Vice-Chancellor, which had a pronounced effect on his development. In 1921, Moore won a scholarship to study at the Royal College of Art in London, along with Hepworth and other Yorkshire contemporaries. While in London, Moore extended his knowledge of primitive art and sculpture, studying the ethnographic collections at the Victoria and Albert Museum and the British Museum. The student sculptures of both Moore and Hepworth followed the standard romantic Victorian style, and included natural forms, landscapes and figurative modelling of animals. Moore later became uncomfortable with classically derived ideals; his later familiarity with primitivism and the influence of sculptors such as Constantin Brancusi, Jacob Epstein, Henri Gaudier-Brzeska and Frank Dobson led him to the method of direct carving, in which imperfections in the material and marks left by tools became part of the finished sculpture. Having adopted this technique, Moore was in conflict with academic tutors who did not appreciate such a modern approach. During one exercise set by Derwent Wood (the professor of sculpture at the Royal College), Moore was asked to reproduce a marble relief of Domenico Rosselli's The Virgin and Child by first modelling the relief in plaster, then reproducing it in marble using the mechanical aid known as a "pointing machine", a technique called "pointing". Instead, he carved the relief directly, even marking the surface to simulate the prick marks that would have been left by the pointing... Guess a valid title for it!
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Answer: Henry Moore

Please answer this: Given the below context: Visual elements employed during Nine Inch Nails concerts have often included numerous lighting, stage and projection effects employed to accompany and augment presentation. Prior to the Fragility tour in 2000, Reznor reflected that "I've adopted a philosophy of the way to present Nine Inch Nails live that incorporates a theatrical element. I want it to be drama. I want my rock stars to be larger than life, you know? The Kurt Cobains of the world, I'm sick of that shit. I don't want a gas station attendant being my hero. I grew up with Gene Simmons. I grew up with Ziggy Stardust."Many songs are typically accompanied with specially designed visual aids, including synchronized lighting effects and projected stock-footage montages. Early performances of the song "Hurt", for example, were accompanied by a projected montage of clouds, charred bodies, mushroom clouds, maggots, and war refugees, a performance of which is featured in the song's music video. Recent performances of the song, however, have featured less lighting effects. Since 1999, the visual presentation of Nine Inch Nails live shows have been directed by Rob Sheridan, while Bill Viola designed a large triptych display for the Fragility tour. The images displayed on the triptych focused on storm and water imagery. And All That Could Have Been features an audio commentary track by Viola describing the display and his inspirations for it.For the Live: With Teeth tour, Roy Bennett and Martin Phillips were responsible for the lighting design and stage design respectively. Bennett explained in a 2005 interview that much of the lighting was done using a series of LED lights arranged in "stalactites or stalagmites [formations] to tie in to the album artwork". DLP projectors were also used to project images onto a gauze screen in front of the stage. Using the gauze projection-screen, Phillips, Reznor, and Sheridan devised a "gag" where they projected "a sheet of glass shattering onto a downstage kabuki scrim that would drop as the glass shatters fell.... Guess a valid title for it!
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Answer: Nine Inch Nails live performances

Please answer this: Given the below context: The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the Limbourg brothers and the Netherlandish artist known as Hand G, to whom the most significant leaves of the Turin-Milan Hours are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother Hubert. According to Georges Hulin de Loo, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from Bohemia and Poland in the east to Austria and Swabia in the south. Guess a valid title for it!
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Answer:
Early Netherlandish painting