[Q]: Given the below context: William Etty (17871849), the seventh son of a York baker and miller, had originally been an apprentice printer in Hull, but on completing his seven-year apprenticeship in 1805 moved to London to become an artist. In January 1807 he was admitted to the Royal Academy Schools as a probationer, and in July of that year became a student of renowned portrait painter Thomas Lawrence, studying under him for a year.Strongly influenced by the works of Titian and Rubens, Etty became famous for painting nude figures in biblical, literary and mythological settings. He became well-respected for his ability to capture flesh tones accurately in painting, and for his fascination with contrasts in skin tones. Many of his peers greatly admired his work, and in February 1828 he defeated John Constable by 18 votes to five to become a full Royal Academician, at the time the highest honour available to an artist.Between 1820 and 1829 Etty exhibited 15 paintings, of which 14 depicted nude figures. While some nude paintings by foreign artists existed in private collections in England, the country 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.Etty was the first British artist to specialise in the nude, and the prurient reaction of the lower classes to these paintings caused concern throughout the 19th century. Although his portraits of male nudes were generally well received, many critics condemned his recurrent depictions of female nudity as indecent. Guess a valid title for it!
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[A]: The Wrestlers (Etty)

[Q]: Given the below context: The story begins with Foghorn being forced by his domineering wife to remain in the henhouse to sit on an egg that is about to hatch while his wife goes out to play bridge. The hen warns Foghorn not to leave the egg unattended or he'll get a lot of lumps on his head, to which Foghorn replies: "No, dreamboat" but then changes "dreamboat" to "tugboat" when the hen is out of earshot. The Dawg sees that Foghorn cannot leave and takes advantage of the situation by lobbing a watermelon at him, which breaks over Foghorn's head. As Foghorn gets up to retaliate, the Dawg states that Foghorn better not leave the egg, or the Dawg can tell Foghorn's "old lady" that he left. Foghorn then figures that he needs to find someone to sit on the egg for him, so that he can exact revenge on the Dawg. Henery, dressed as an Indian, is hunting for chickens when he spots Foghorn in the henhouse. Henery shoots him with a toy arrow, causing Foghorn to shriek. Foghorn turns the tables on Henery by telling him that he needs to hunt a chicken his own size, like the one in the unhatched egg. Foghorn leads Henery to believe that he can have the chicken once it hatches, but tells Henery he need to sit on the egg first to keep it warm. Free from his commitment, Foghorn goes to the Dawg's house and spanks him with a wooden plank, then as the Dawg attempts to give chase, Foghorn traps him in the stocks and then places light bulbs around the Dawg's head. Foghorn then flips and electrical switch and the lights begin to blink, then the words "Eat At Joe's" appear in the Dawg's nose, as if it were a neon sign. Guess a valid title for it!
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[A]: The Egg-Cited Rooster

[Q]: Given the below context: Art critic and curator Jenny McFarlane considered Fuller's work to be complex, drawing not only on European modernist academic traditions and Australian subjects, but also at times, incorporating "radical stylistic innovations" that drew on Indian artistic tradition and theosophy's ideas.Reviewing the Western Australian Art Society's exhibition in 1906, the critic for Perth's Western Mail considered Fuller's works to be the finest on show, and that "the occasion provides another triumph for Miss Fuller". In 1914, it was reported that Fuller was represented in four public galleriesthree in Australia and one in South Africaa record for an Australian woman painter at that time. Yet although she experienced considerable success during her early life, Fuller subsequently became almost invisible. No obituaries appeared in the newspapers in 1946. She is not mentioned at all in Janine Burke's Australian Women Artists 18401940, Max Germaine's Dictionary of Women Artists in Australia, nor Caroline Ambrus's Australian Women Artists. However her work toured with the Completing the picture: women artists and the Heidelberg era exhibition in 1992-1993 and also was discussed in detail and illustrated in Janda Gooding's "Western Australian art and artists, 1900-1950" exhibition and publication. In 2013, Ann Gray described Fuller as "an important Australian woman artist and arguably Western Australia's most significant artist from the Federation period". Works by Fuller are held by the Art Gallery of South Australia, the Art Gallery of Western Australia, the National Gallery of Australia, the City of Perth, the National Gallery of Victoria, Australia's National Portrait Gallery, the Art Gallery of New South Wales and the State Library of Victoria. Internationally, her work is held by the Newport Museum and Art Gallery in South Wales. Guess a valid title for it!
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[A]: Florence Fuller

[Q]: Given the below context: Wheeler was known as "Rik" among friends. He divided opinion among those who knew him, with some loving and others despising him, and during his lifetime, he was often criticised on both scholarly and moral grounds. The archaeologist Max Mallowan asserted that he "was a delightful, light-hearted and amusing companion, but those close to him knew that he could be a dangerous opponent if threatened with frustration". His charm offensives were often condemned as being insincere. During excavations, he was known as an authoritarian leader but favoured those who he thought exhibited bravery by standing up to his authority. Hence, he has been termed "a benevolent dictator". He was meticulous in his writings, and would repeatedly revise and rewrite both pieces for publication and personal letters. Throughout his life, he was a heavy smoker.Wheeler expressed the view that he was "the least political of mortals". Despite not taking a strong interest in politics, Wheeler was described by his biographer as "a natural conservative"; for instance, during his youth he was strongly critical of the Suffragettes and their cause of greater legal rights for women. Nevertheless, he was "usually happy to advance young women professionally", something that may have been based largely on his sexual attraction toward them. He expressed little interest in his relatives; in later life, he saw no reason to have a social relationship with people purely on the basis of family ties.Wheeler was married three times. In May 1914, Wheeler married Tessa Verney. Tessa became an accomplished archaeologist, and they collaborated until she died in 1936. Their only child, Michael Mortimer Wheeler, was born in January 1915; he became a barrister. Following Tessa's death, in 1939, Wheeler married Mavis de Vere Cole, widow of the prankster Horace de Vere Cole. Their relationship was strained; Cole's diaries revealed that Wheeler physically hit her when she annoyed him. In 1945 Mortimer Wheeler married his third wife, Margaret "Kim" Collingridge.... Guess a valid title for it!
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[A]:
Mortimer Wheeler