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Fallout new vegas all casino locations. The New California Republic plays a major part in the game' s story, being in a three- way struggle amongst the Caesar' s Legion slavers, and the mysterious Mr.
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Search the indicated locations to find all Hollow Rocks, which contain ammunition and equipment stashes:. However, some of them are not on this list.
They range from weapons to clothing to recipes. Each area is labled fallout as a Primary or Secondary location use the legend on the map to find more.
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Another All Roads to new Fallout: New Vegas addition is letting the reader/ player witness characters leaving behind or storing items at in- game locations. Fallout New Vegas Skill Magazine Locations Guide.
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You can delete all patches for the game by using the " Clear hard drive cache" code for the Xbox 360. Welcome to the Side Quests section of our Fallout: New Vegas guide.
This is the summary table containing Fallout Las Vegas 100 most important cheats and console commands. A hardcover copy of the graphic novel will be included in the limited edition of Fallout: casino New Vegas.
And now for other locations:. This time set in Las casino Vegas, in the Mojave desert, it' s a bleak and gripping game with plenty of memorable characters, locations, enemies, and weapons.
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Chief Patron: Surovell
Electronic Routing Registry (language only)
"K. From the amounts in this Item for Information Technology Services (69902), the Commonwealth Transportation Board shall direct the development and ongoing maintenance of an Electronic Routing Registry of highways as directed in Senate Bill 623 of the 2018 General Assembly."
(This amendment provides funds from the Department of Transportation administrative budget to create and maintain an Electronic Routing Registry of highways where electronic routing of through traffic is prohibited and provides the criteria for a highway to be eligible for placement on the Registry at the request of a locality.)
Administrative and Support Services (69900) $273,814,072 $276,549,422
General Management and Direction (69901) FY2019 $141,489,732 FY2020 $144,879,504
Facilities and Grounds Management Services (69915) FY2019 $17,113,687 FY2020 $17,541,529
Employee Training and Development (69924) FY2019 $18,584,482 FY2020 $17,390,344
Commonwealth Transportation FY2019 $273,814,072 FY2020 $276,549,422
Authority: Title 33.2, Code of Virginia.
A. Notwithstanding any other provision of law, the highway share of the Transportation Trust Fund shall be used for highway maintenance and operation purposes prior to its availability for new development, acquisition, and construction.
B. Administrative and Support Services shall include funding for management, direction, and administration to support the department's activities that cannot be directly attributable to individual programs and/or projects.
C. Out of the amounts for General Management and Direction, allocations shall be provided to the Commonwealth Transportation Board to support its operations, the payment of financial advisory and legal services, and the management of the Transportation Trust Fund.
D. Notwithstanding any other provision of law, the department may assess and collect the costs of providing services to other entities, public and private. The department shall take all actions necessary to ensure that all such costs are reasonable and appropriate, recovered, and understood as a condition to providing such service.
E. Each year, as part of the six-year financial planning process, the commissioner shall implement a long-term business strategy that considers appropriate staffing levels for the department. In addition, the commissioner shall identify services, programs, or projects that will be evaluated for devolution or outsourcing in the upcoming year. In undertaking such evaluations, the commissioner is authorized to use the appropriate resources, both public and private, to competitively procure those identified services, programs, or projects and shall identify total costs for such activities.
F. Notwithstanding § 4-2.03 of this act, the Virginia Department of Transportation shall be exempt from recovering statewide and agency indirect costs from the Federal Highway Administration until an indirect cost plan can be evaluated and developed by the agency and approved by the Federal Highway Administration.
G. The Director, Department of Planning and Budget, is authorized to adjust appropriations and allotments for the Virginia Department of Transportation to reflect changes in the official revenue estimates for commonwealth transportation funds.
H. Out of the amounts for General Management and Direction, allocations shall be provided to support the capital lease agreement with Fairfax County for the Northern Virginia District building. An amount estimated at $7,800,000 the first year and $7,800,000 the second year from Commonwealth Transportation Funds shall be provided.
I. Notwithstanding any other provisions of law, the Commonwealth Transportation Commissioner may enter into a contract with homeowner associations for grounds-keeping, mowing, and litter removal services.
J. Notwithstanding the provisions § 2.2-2402 of the Code of Virginia, no construction, erection, repair, upgrade, removal or demolition of any building, fixture or structure located or to be located on property of the Commonwealth of Virginia under the control of the Virginia Department of Transportation (VDOT) and within the secured area of a residency, area headquarters or district complex shall be subject to review or approval by the Art and Architectural Review Board as contemplated by that section. However, for changes to any building or fixture located on property owned or controlled by VDOT that has been designated or is under consideration for designation as a historic property, then VDOT shall submit such changes to the Art and Architectural Review Board for review and approval by the Board.

redpajama_set_name: RedPajamaCommonCrawl


Jean-Claude Juncker, the President of the European Commission, gave his 'State of the Union' (SOTU) address this morning and outlined his vision for the future of the European Union; an address totally dominated by the movement of people and the requirement as he sees it for 'more Europe'.
His delivery may have been rather flat but the content was far-reaching. Mr Juncker announced that he wanted not just a refugee quota system within the EU, but also a 'renewed approach' to legal migration was needed requiring a revision of the 'blue card' system – a common EU-wide immigration system for potential workers from outside the EU. What we need he said was a 'comprehensive European agenda' on migration.
He also said that the asylum crisis would stretch on with the EU having to do more to take refugees, raising the prospect of the scrapping of the requirement under the Dublin agreement for claiming asylum in the first safe country. This would transform the EU into one state as far as asylum seekers were concerned so allowing them to pick in which member country they claimed asylum.
He then went on to add that, in the future, the EU must be ready to take environmental refugees; people displaced because of global warming.
And while there is talk of effectively tearing down nation states borders within the EU there will be a push to create an EU coastguard and border guard system. A further step towards making the EU a nation-state in its own right.
"Thank you. Mr Juncker you've simply got this wrong.
"As I warned you in April, the European Common Asylum Policy sets its terms so wide that to say that anyone who sets a foot on EU soil can stay, I said it would lead to a flow of biblical proportions and indeed that is what we are beginning to see and that's been compounded by Germany last week saying that basically anyone can come. It is a bit too late now to draw up a list of countries from whom can stay and can't stay. All they have to do, as they're doing, is to throw their passports in the Mediterranean and say they're coming from Syria. As we know the majority of people that are coming and the Slovak Prime Minister has been honest enough to say so, the majority that are coming are economic migrants.
"In addition we see as I warned earlier evidence that ISIS are now using this route to put their jihadists on European soil. We must be mad to take this risk with the cohesion of our societies. If we want to help genuine refugees, if we want to protect our societies, if we want to stop the criminal trafficking gangs from benefitting as they are, we must stop the boats coming as the Australians did and then we can assess who qualifies for refugee status.
Trust Fund for Africa of €1.8 billion "for stability and addressing root causes of irregular migration in Africa".
Such moves will, of course, remove any control individual members states have over asylum seekers and migration and give that power to Brussels.


Search 7 active Sandstone real estate listings with Sandstone real estate statistics, maps, REALTORS® & homes for sale Okotoks on April 26, 2019. Currently active properties average price $481,514.29 highest $669,000.00. Property types include Attached homes, Detached Homes, Luxury Homes plus Condos, Townhomes, Rowhouses, Lake Homes plus Bank owned Foreclosures.
Sandstone Homes For Sale Market Find 7 Sandstone homes for sale & real estate listings in Okotoks. Locate Sandstone REALTORS®, new active average price $481,514.29 with the highest price homes $669,000.00. Search new homes for sale, listings, condos, townhomes, reviews directory plus top real estate agents makes it easy research your dream home. Data supplied by CREB®'s MLS® System. CREB® is the owner of the copyright in its MLS® System. The Listing data is deemed reliable but not guaranteed accurate by CREB® on April 26, 2019.


The information for this branch was filled in 2019. Primarily, the update was to specifically provide information about the opening hours and contact information for Refinance Mortgage – 100 Maiden St.
In some instances, Refinance Mortgage – 100 Maiden St has to change its opening regularities. This is mostly experienced in various moments especially for a standard time and daylight saving. It is, therefore, important that a client should consider contacting the bank for inquiries regarding any latest changes.


That's So Gay (TSG) is a new collaborative theatre production between young people from School's Out, Wellington, and students from Toi Whakaari: NZ Drama School.
That's So Gay opens at BATS Theatre on Thursday 26 April and runs till Saturday 28 April, 6.30pm nightly.
TSG is a culmination of true lesbian, gay, bisexual, pansexual, straight and transgender (LGBPST) stories that reflect the lives of Wellington youth today, gathered, devised, and performed by them.
Directed by Toni Regan, who is completing her 'Master of Theatre Arts in Directing' at Toi Whakaari, TSG began as an idea inspired by Anny da Silva Freitas. A counsellor, youth and community worker, Da Silva Freitas was tired of hearing the pejorative use of the phrase "that's so gay" in everyday language. She wants to challenge this put down: "being gay is not dumb or stupid, it's who I am and there are many like me that share the same view".
From this idea, Regan and da Silva Freitas began a project that has developed into a collaborative community theatre production with School's Out, Wellington. A group of Toi Whakaari students and 13 young people from School's Out (aged 16 to 26) have devised the play, which is made up of 'moments' created from stories about the young people's experiences. TSG is an opportunity for them to reflect their stories back to themselves, whilst sharing them with the local Wellington community. Devising was modeled on the process used by Moises Kaufman, the creator and director of The Laramie Project.
A truly collaborative community theatre production, TSG is created from 'moments' that are enquiring, comedic, challenging, revealing, and touching.


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I have severe pain in my lower legs caused by an operation in April 2016. I went to a pain management clinic & was evaluated. They recommended a SPINAL CORD STIMULATOR implant. I had a temporary one put in & it reduced some of the pain. That was replaced by a permanent one from ST. JUDE MEDICAL/ABBOTT GLOBAL. This permanent one has been in for almost 3 months with NO RELIEF from the pain & works nothing like the temporary one! I personally think the Reps are just selling you a bill of goods trying to get a huge commission from the sale which my insurance company had to pay! Do not get sold that "BILL OF GOODS"!
Be strong and determined. I believe it's going to be ok. There're some ways to make the treatment way more affordable. In the most Asian countries you'll cut your check twice. There's a pharmavaccs agency which provides the service of taking you to the proper clinic in the other part of the world. Visit site https://pharmavaccs.co.uk/ to check it out.


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Vardy and Kane can play together for England in Word Cup
Leicester City manager backs striker to form deadly partnership in Russia this summer
Daniel Orme
Leicester City manager Claude Puel has suggested that Jamie Vardy should partner Harry Kane at this summer's World Cup in Russia.
The City forward found the net again in mid-week as he scored in England's 1-1 draw with Italy at Wembley Stadium to notch his seventh goal for his country in 21 appearances.
Vardy has now either scored or assisted at the national stadium every 88 minutes - on average 20 minutes more often than the Tottenham striker who has had a direct involvement in a goal every 109 minutes at Wembley.
This is despite the latter having played plenty more games at the national stadium with his club.
However, Puel has insisted that the two could lead the line for the Three Lions in the upcoming tournament due to their contrasting playing styles despite England boss Gareth Southgate usually selecting only one striker.
Reported Leicester City target Hatem Ben Arfa to change clubs this summer
He said: "I think they can have a good balance because it is two players with different attributes. It's a good option for the manager. It's a good choice.
"It's important for the national team to have different players with different attributes."
In domestic action, the two have netted 52 goals between them this season.
However, Vardy and Kane have only started three games for England together, with the two of them starting up-front on only one occasion, a 1-0 victory over Portugal in 2016.
Jamie Vardy celebrates scoring the first goal during the friendly between England and Italy at Wembley (Image: Catherine Ivill/Getty Images)
In spite of this, the City boss implied that Vardy's style of play could prove beneficial to former City loanee Kane due to Vardy's pace and movement.
He said: "I think Jamie can exploit the space and give good moves, and a good opportunity.
"It was important for the team because he gave a good option, a good run and good moves for all of the players, all of the team."
Vardy's strike against Italy continued his excellent vain of form having scored eight goals in his last 12 games for club and country.
Why Adrien Silva is so important to Leicester City for season run-in
Puel suggested that the City striker's confidence is soaring at the current time, meaning that defenders are finding it almost impossible when up against him.
The Frenchman also told how Vardy's goal-scoring exploits on the international stage could benefit City.
Puel said: "Of course, it is always important for a striker to score a lot and if he can score in international games it is good for him and good for his squad, and for us.
"It is good for the confidence and it shows the defenders that is difficult to mark Jamie."


We live in the cupcake era. There are trucks racing through cities serving them, reality shows dedicated to the creation of them, stores that have lines around the corner that solely serve them. It's all about the cupcake. So, it makes sense that I wanted to use Hershey's Spreads to upgrade a cupcake I recently baked.
My husband LOVES black and white cookies which is where I got the inspiration from. I had vanilla frosting and decided to split the top layer in half and create a cupcake version of that very famous sugary treat. The result? BLISS!
Hershey's Spreads can be used in countless way. Have a little fun – think outside the box! Or in this case… the cupcake tin.
Are you looking for more Hershey's Spreads inspiration? The brand has several recipes on their sites and one is better than the next. Click here to check out the GOODS. YUM and YUM!
Remember — there are three available flavors to choose from: chocolate, chocolate with hazelnut and chocolate with almond. So, if you want something with more of a nutty taste it is on shelf right now.


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Whats Really Good
September 29, 2006	5:15 AM CST
Venezuela's young communists urge unity
The Young Communists of Venezuela held their 10th national congress Sept. 15-17 to coincide with their 59th anniversary. The gathering included 300 delegates and guests from 100 national and international groups.
A major theme of the congress was strengthening support for President Hugo Chávez and the country's socialist future. Discussions centered on resolutions issued at the 12th congress of the Communist Party of Venezuela last July, including one that called on communist youth to exert influence on students, workers and all young people in order to raise political awareness.
The communist youth are proposing a national unity movement in support of Chávez's call to create a single party of revolutionary forces. Carlos Aquino, outgoing general secretary of the group, told reporters that youth have a very important role to play in the socialist process of the country.
Dolores Huerta urges youth to vote
Dolores Huerta, co-founder of the United Farm Workers union, stressed voting, nonviolence and unity to 200 students at the Freemont Federation of High Schools in Oakland, Calif., during a hip-hop-themed event Sept. 20.
"We can't let people drive wedges between us because we are all one family," said Huerta, 76, to a diverse crowd of teenagers. "There is only one human race."
Speaking to reporters, Huerta said, "I see the new civil rights movement emerging. A lot of it's around the hip-hop movement, among young people, but now it's more about economic rights."
Laws passed in the U.S. can cause suffering, she said, and "the only way to have an influence on the laws is to vote." Youth Together, a multi-ethnic, leadership-building group comprising five East Bay high schools, organized the event. One youth called Huerta a living "civil rights legend."
Youth launch 'books not bombs' campaign
The National Youth and Student Peace Coalition is launching a fall campaign making the link between the massive cuts to public education, higher education, job training, veteran's benefits and healthcare with the funding for the war in Iraq. NYSPC is calling on all youth to hit the streets and the voting booths to demand "Books Not Bombs," and is planning educational events, organizing drives and actions nationwide. For more information, e-mail NYSPC ator check out its web site at www.nyspc.org.
Youth voters underrepresented at the polls
Nonpartisan organizations are hoping to educate young voters and change attitudes on a local and national scale in preparation for Nov. 7. The Ad Council is working with the Federal Voting Assistance Program to generate interest and emphasize the importance of voting, especially among college-age citizens.
According to the U.S. Census Bureau, 19.4 percent of 18- to 24-year-olds voted in the 2002 midterm elections, making that demographic the most underrepresented at the polls.
"Our goal is to help create a generation of voters," said Michelle Hillman, Ad Council vice president.
Tina Post, communications director of the New Voters Project, said her group registered 524,000 young voters in the last presidential elections, making it the largest nonpartisan, youth-motivated movement in history. "The youth vote in America is primed to become an important constituency," she said. "By 2015, 18- to 35-year olds will represent one-third of the electorate."
— Pepe Lozano (plozano@pww.org)
Rep. Duncan Hunter pleads guilty, resigns, goes to prison, collects lifetime ...
Dr. King spoke out against the genocide of Native Americans
How Soviet books brought literacy and socialist culture to the Third ...
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What's OnMusic, Theatre & Arts
whats-on, music-theatre-arts,
Exactly 20 years ago, the Kimbell Art Museum in Fort Worth, Texas staged its epic exhibition Matisse and Picasso: A gentle rivalry that examined the work of two of the most prominent artists in 20th century modernism, not in terms of influences and rivalries, but as a complex dialogue - a chess match played out by two of the grand masters of international art. A few years later, the Tate in London with the Museum of Modern Art in New York and the Pompidou and the Musée Picasso in Paris assembled the knockout Matisse/Picasso exhibition that was shown in all three cities that again moved the emphasis from an early rivalry to a later profound empathy. Subsequently there have been myriad exhibitions that have juxtaposed the work by the two masters, including one focusing on their graphic work in Sydney in 2000. The show at the National Gallery in Canberra is the first major institutional exhibition in Australia to tackle the theme on a grand scale. It consists of over 200 works (about half from the Canberra gallery's own collection) with strategic loans from throughout Australia and around the world. Picasso and Matisse probably first met on March 20, 1906, in the Paris apartment of Gertrude Stein. Gertrude, and her brother Leo, had for several years been collecting the work of Matisse, who was older than Picasso by 12 years, but had relatively recently discovered the work of the young Spaniard. The two artists had been aware of each other's work for several years and both were working in Paris and had friends, dealers and patrons in common. Picasso lived in Montmartre, while Matisse in the Latin Quarter, and a bit like the north shore and Paddington in Sydney, these were separate enclaves in Paris and their inhabitants seldom mingled. Leo Stein left us with the following evaluation of the two artists: "Matisse in an immaculate room, a place for everything, and everything in its place. Both within his head and without. Picasso - with nothing to say except the occasional firework, his work developing intuitively with no plan ... Matisse saw himself in relation to others and Picasso stood apart, alone. He recognised others, of course, but as belonging to another system, there was no fusion. Matisse exhibited everywhere. He always wanted to learn, and believed there was no better way than to see his work alongside the work of everybody else. Picasso never showed with others." The Steins strongly promoted this idea of Picasso and Matisse as being poles apart and the idea found favour in the competitive art market. Picasso's wives and mistresses also fostered this idea. Fernande Olivier, in her memoirs (1933) spoke of Matisse as the artist from French Picardy, and Picasso, as the genius from the Spanish Andalusian region, standing like the north and south poles, which separated and dominated the course of modern art for fifty years. Francoise Gilot, in her numerous publications on her years spent with Picasso, echoes a similar notion of what she terms, "spontaneous antagonism and empathy", nevertheless each of them recognising the necessity of peaceful co-existence as they had to share the same turf with the same friends, collectors, dealers and critics. Now in retrospect, on reviewing the evidence of their work presented in this and other related exhibitions, it points to a different conclusion concerning the relationship between these two giants of 20th century art, one which may be more aptly described as "friendly rivalry". One can argue that both were batting on the same side - for example, both largely opposed pure abstraction, both subscribed to the idea of art as essentially an aesthetic object and both shared the notion of art having an interaction with society - in other words they were two sides of the same coin sharing their discoveries and constantly comparing notes. Both also acknowledged the paternity of Paul Cézanne and saw themselves working in his footsteps. Matisse once told Picasso, "we must talk to each other as much as we can, as when one of us dies, there will be some things that the other will never be able to talk of with anybody else." Following Matisse's death in November 1954, Picasso had to concede and pronounced famously: "There are a number of things I shall no longer be able to talk about with anyone after Matisse's death ... All things considered, there is only Matisse". There is another way of looking at this relationship that Joachim Pissarro put rather nicely when he wrote: "In this ongoing debate between Matisse and Picasso, no one actually wins, but no one is the loser either." Here the concept of "active understanding" rather than "influence" seems more appropriate. After Matisse's death, Picasso announced that now he had to make art for both of them. Picasso once stated, "No one has looked at Matisse's painting more carefully than I, and no one has looked at mine more carefully than he." The exhibition demonstrates the richness of the National Gallery's own holdings of mainly graphics of the two artists and their work for the Ballets Russes. The inaugural director, James Mollison, was responsible for many of these pioneering acquisitions, while Dr Jane Kinsman, the curator of this exhibition and the main author of the monographic catalogue, was responsible for many of the subsequent acquisitions. Loans of major work by either artist are difficult to secure without a huge budget, so the exhibition has a credible, rather than spectacular selection, drawn from public and private Australian collections, especially interesting work from the Kerry Stokes collection. There are also over a dozen international public collections that have loaned work for this show, especially the Tate, National Gallery of Art in Washington DC and the Musée Picasso in Paris. For Canberra audiences, there is the wonderful experience of seeing old friends such as Matisse's Jazz (1947) and his breathtaking Oceania, the sky (1946) and Picasso's Vollard suite (1930-37). The costume designs for the Ballets Russes, by both artists, are also rare gems. The show sparkles with interesting visual connections where the curator's intimate knowledge of the collection allows her to weave her particular brand of seductive magic. Sadly, this is Dr Kinsman's swansong exhibition following which she retires after many years of service to the gallery. Matisse and Picasso was a love affair, where despite the battered egos and the occasional bitchy words, they were each other's greatest admirer. This is an exhibition to be enjoyed and explored where all sorts of gems will gradually reveal themselves.
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December 17 2019 - 8:30PM
Matisse & Picasso at the National Gallery of Australia tells the story of a famous rivalry between masters
Sasha Grishin
Henri Matisse, Still life with sleeping woman [Nature morte à la dormeuse], 1940. Picture: Supplied.
Exactly 20 years ago, the Kimbell Art Museum in Fort Worth, Texas staged its epic exhibition Matisse and Picasso: A gentle rivalry that examined the work of two of the most prominent artists in 20th century modernism, not in terms of influences and rivalries, but as a complex dialogue - a chess match played out by two of the grand masters of international art.
A few years later, the Tate in London with the Museum of Modern Art in New York and the Pompidou and the Musée Picasso in Paris assembled the knockout Matisse/Picasso exhibition that was shown in all three cities that again moved the emphasis from an early rivalry to a later profound empathy. Subsequently there have been myriad exhibitions that have juxtaposed the work by the two masters, including one focusing on their graphic work in Sydney in 2000. The show at the National Gallery in Canberra is the first major institutional exhibition in Australia to tackle the theme on a grand scale. It consists of over 200 works (about half from the Canberra gallery's own collection) with strategic loans from throughout Australia and around the world.
Picasso and Matisse probably first met on March 20, 1906, in the Paris apartment of Gertrude Stein. Gertrude, and her brother Leo, had for several years been collecting the work of Matisse, who was older than Picasso by 12 years, but had relatively recently discovered the work of the young Spaniard.
The two artists had been aware of each other's work for several years and both were working in Paris and had friends, dealers and patrons in common. Picasso lived in Montmartre, while Matisse in the Latin Quarter, and a bit like the north shore and Paddington in Sydney, these were separate enclaves in Paris and their inhabitants seldom mingled.
Leo Stein left us with the following evaluation of the two artists: "Matisse in an immaculate room, a place for everything, and everything in its place. Both within his head and without. Picasso - with nothing to say except the occasional firework, his work developing intuitively with no plan ... Matisse saw himself in relation to others and Picasso stood apart, alone. He recognised others, of course, but as belonging to another system, there was no fusion. Matisse exhibited everywhere. He always wanted to learn, and believed there was no better way than to see his work alongside the work of everybody else. Picasso never showed with others."
The Steins strongly promoted this idea of Picasso and Matisse as being poles apart and the idea found favour in the competitive art market. Picasso's wives and mistresses also fostered this idea. Fernande Olivier, in her memoirs (1933) spoke of Matisse as the artist from French Picardy, and Picasso, as the genius from the Spanish Andalusian region, standing like the north and south poles, which separated and dominated the course of modern art for fifty years.
Exhibition Istllers, Ben Taylor and Ruby Rossiter hang Pablo Picasso's L'Arlesienne: Lee Miller painting for the Matisse Picasso exhibition at the National Gallery of Australia. Picture: Elesa Kurtz
Francoise Gilot, in her numerous publications on her years spent with Picasso, echoes a similar notion of what she terms, "spontaneous antagonism and empathy", nevertheless each of them recognising the necessity of peaceful co-existence as they had to share the same turf with the same friends, collectors, dealers and critics.
Now in retrospect, on reviewing the evidence of their work presented in this and other related exhibitions, it points to a different conclusion concerning the relationship between these two giants of 20th century art, one which may be more aptly described as "friendly rivalry". One can argue that both were batting on the same side - for example, both largely opposed pure abstraction, both subscribed to the idea of art as essentially an aesthetic object and both shared the notion of art having an interaction with society - in other words they were two sides of the same coin sharing their discoveries and constantly comparing notes.
Both also acknowledged the paternity of Paul Cézanne and saw themselves working in his footsteps. Matisse once told Picasso, "we must talk to each other as much as we can, as when one of us dies, there will be some things that the other will never be able to talk of with anybody else." Following Matisse's death in November 1954, Picasso had to concede and pronounced famously: "There are a number of things I shall no longer be able to talk about with anyone after Matisse's death ... All things considered, there is only Matisse".
There is another way of looking at this relationship that Joachim Pissarro put rather nicely when he wrote: "In this ongoing debate between Matisse and Picasso, no one actually wins, but no one is the loser either." Here the concept of "active understanding" rather than "influence" seems more appropriate.
Pablo Picasso, Still life [Nature mort] 1924. Part of the Matisse Picasso exhibition at the NGA.
After Matisse's death, Picasso announced that now he had to make art for both of them. Picasso once stated, "No one has looked at Matisse's painting more carefully than I, and no one has looked at mine more carefully than he."
The exhibition demonstrates the richness of the National Gallery's own holdings of mainly graphics of the two artists and their work for the Ballets Russes. The inaugural director, James Mollison, was responsible for many of these pioneering acquisitions, while Dr Jane Kinsman, the curator of this exhibition and the main author of the monographic catalogue, was responsible for many of the subsequent acquisitions.
Loans of major work by either artist are difficult to secure without a huge budget, so the exhibition has a credible, rather than spectacular selection, drawn from public and private Australian collections, especially interesting work from the Kerry Stokes collection.
There are also over a dozen international public collections that have loaned work for this show, especially the Tate, National Gallery of Art in Washington DC and the Musée Picasso in Paris.
For Canberra audiences, there is the wonderful experience of seeing old friends such as Matisse's Jazz (1947) and his breathtaking Oceania, the sky (1946) and Picasso's Vollard suite (1930-37). The costume designs for the Ballets Russes, by both artists, are also rare gems.
Installation view of Matisse & Picasso featuring works by Henri Matisse, National Gallery of Australia, Canberra, 2019
The show sparkles with interesting visual connections where the curator's intimate knowledge of the collection allows her to weave her particular brand of seductive magic. Sadly, this is Dr Kinsman's swansong exhibition following which she retires after many years of service to the gallery.
Matisse and Picasso was a love affair, where despite the battered egos and the occasional bitchy words, they were each other's greatest admirer.
This is an exhibition to be enjoyed and explored where all sorts of gems will gradually reveal themselves.
Matisse & Picasso. is showing at the National Gallery of Australia until April 13. Visit nga.gov.au for details.