Problem: Richard Hirschfeld Williams (May 7, 1929 - July 7, 2011) was an American left fielder, third baseman, manager, coach and front office consultant in Major League Baseball. Known especially as a hard-driving, sharp-tongued manager from 1967 to 1969 and from 1971 to 1988, he led teams to three American League pennants, one National League pennant, and two World Series triumphs. He is one of seven managers to win pennants in both major leagues, and joined Bill McKechnie in becoming only the second manager to lead three franchises to the Series. He and Lou Piniella are the only managers in history to lead four teams to seasons of 90 or more wins.

In 1977, he returned to Montreal as manager of the Expos, who had just come off 107 losses and a last-place finish in the NL East. Team president John McHale and general manager Jim Fanning had been impressed with Williams' efforts in Boston and Oakland, and thought he was what the Expos needed to finally become a winner.  After cajoling the Expos into improved, but below .500, performances in his first two seasons, Williams turned the 1979-80 Expos into pennant contenders. The team won over 90 games both years--the first winning seasons in franchise history. The 1979 unit won 95 games, the most that the franchise would win in Montreal. However, they finished second each time to the eventual World Champion (the Pittsburgh Pirates in 1979 and the Philadelphia Phillies in 1980). Williams was never afraid to give young players a chance to play, and his Expos teams were flush with young talent, including All-Stars such as outfielder Andre Dawson and catcher Gary Carter. With a solid core of young players and a fruitful farm system, the Expos seemed a lock to contend for a long time to come.  But Williams' hard edge alienated his players--especially his pitchers--and ultimately wore out his welcome. He labeled pitcher Steve Rogers a fraud with "king of the mountain syndrome" - meaning that Rogers had been a good pitcher on a bad team for so long that he was unable to "step up" when the team became good. Williams also lost confidence in closer Jeff Reardon, whom the Montreal front office had acquired in a much publicized trade with the Mets. When the 1981 Expos performed below expectations, Williams was fired during the pennant drive on September 7. With the arrival of his easy-going successor Jim Fanning, who restored Reardon to the closer's role, the inspired Expos made the playoffs for the only time in their 36-year history in Montreal. However, they fell in heartbreaking fashion to Rick Monday and the eventual World Champion Los Angeles Dodgers in a five-game NLCS.

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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.
The ancient peoples now called "Celts" spoke a group of languages that had a common origin in the Indo-European language known as Common Celtic or Proto-Celtic. This shared linguistic origin was once widely accepted by scholars to indicate peoples with a common genetic origin in southwest Europe, who had spread their culture by emigration and invasion. Archaeologists identified various cultural traits of these peoples, including styles of art, and traced the culture to the earlier Hallstatt culture and La Tene culture. More recent genetic studies have indicated that various Celtic groups do not all have shared ancestry, and have suggested a diffusion and spread of the culture without necessarily involving significant movement of peoples. The extent to which "Celtic" language, culture and genetics coincided and interacted during prehistoric periods remains very uncertain and controversial.  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.  The term "Celt" was used in classical times as a synonym for the Gauls (Keltoi, Celtae). Its English form is modern, attested from 1607. In the late 17th century the work of scholars such as Edward Lhuyd brought academic attention to the historic links between Gaulish and the Brythonic--and Goidelic--speaking peoples, from which point the term was applied not just to continental Celts but those in Britain and Ireland. Then in the 18th century the interest in "primitivism", which led to the idea of the "noble savage", brought a wave of enthusiasm for all things Celtic and Druidic. The "Irish revival" came after the Catholic Emancipation Act of 1829 as a conscious attempt to demonstrate an Irish national identity, and with its counterpart in other countries subsequently became the "Celtic Revival".
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What is Celtic art ?

Answer:
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe