ᱡᱟᱱᱟᱢ

ᱢᱟᱴᱤᱥᱤ ᱓᱑ ᱰᱮᱥᱮᱢᱵᱚᱨ ᱑᱘᱖᱙ ᱥᱟᱞ ᱨᱮ ᱮᱛᱚᱢ ᱯᱷᱨᱟᱱᱥ ᱮᱱᱟᱜ ᱠᱟᱴᱮᱣᱼᱠᱟᱢᱵᱨᱮᱥᱤᱥ ᱨᱮ ᱢᱤᱫ ᱠᱤᱥᱟᱹᱬ ᱦᱳᱲᱳᱼᱜᱚᱦᱚᱢ ᱵᱮᱯᱟᱨᱤ ᱚᱲᱟᱜ ᱨᱮ ᱢᱟᱨᱟᱝ ᱦᱚᱯᱚᱱ ᱞᱮᱠᱟᱛᱮ ᱡᱟᱱᱟᱢ ᱞᱮᱱᱟᱭ ᱾ ᱟᱡᱟᱜ ᱟᱯᱟᱛ ᱧᱩᱛᱩᱢ ᱮᱢᱤᱞᱤᱼᱦᱤᱯᱳᱞᱟᱭᱤᱴᱼᱦᱮᱱᱨᱤ ᱢᱟᱴᱤᱥᱤ ᱟᱨ ᱟᱭᱚ ᱧᱩᱛᱩᱢ ᱟᱱᱼᱟ ᱦᱮᱞᱚᱤᱡ ᱜᱮᱨᱟᱨᱰ ᱾

᱑᱙᱘᱗ ᱨᱮ ᱟᱡ ᱯᱟᱨᱤᱥ ᱯᱭᱟᱨᱤᱥ ᱟᱹᱭᱤᱱ ᱯᱟᱲᱦᱟᱣ ᱮ ᱪᱟᱞᱟᱣ ᱮᱱᱟ ᱾ ᱟᱡᱟᱜ ᱯᱟᱲᱦᱟᱣ ᱨᱮ ᱡᱩᱜᱭᱟᱹᱮᱱ ᱛᱟᱭᱚᱢ ᱞᱤ ᱪᱟᱴᱮᱭᱚᱼᱪᱟᱢᱵᱨᱮᱥᱤᱥ ᱨᱮ ᱠᱳᱨᱴ ᱟᱰᱢᱤᱱᱤᱥᱴᱨᱮᱴᱚᱨ ᱞᱮᱠᱟᱛᱮ ᱠᱟᱹᱢᱤ ᱞᱮᱫᱟᱭ ᱾ ᱑᱘᱘᱙ ᱨᱮ ᱟᱡ ᱟᱯᱮᱱᱰᱤᱪᱤᱴᱤᱥ ᱵᱮᱢᱟᱨ ᱠᱷᱚᱱ ᱵᱮᱥ ᱮᱱ ᱛᱟᱭᱚᱢ ᱟᱡ ᱟᱭᱚ ᱪᱤᱛᱟᱹᱨ ᱱᱮᱱᱟᱣ ᱨᱮᱱᱟᱜ ᱥᱟᱢᱟᱱ ᱮ ᱠᱤᱨᱤᱧ ᱟᱹᱜᱩ ᱦᱟᱫᱮ ᱛᱟᱦᱮᱸᱫ ᱩᱱ ᱡᱚᱦᱚᱜ ᱯᱩᱭᱞᱩ ᱪᱤᱛᱟᱹᱨ ᱮ ᱵᱮᱸᱟᱣ ᱞᱮᱫᱼᱟ ᱿ ᱤᱱᱟᱹ ᱛᱟᱭᱚᱢ ᱟᱡ ᱪᱤᱛᱟᱹᱨ ᱵᱮᱱᱟᱣ ᱨᱮᱜᱮ ᱢᱚᱱᱮ ᱠᱮᱫᱟᱭ ᱟᱨ ᱱᱚᱣᱟ ᱫᱚ "ᱢᱤᱫ ᱞᱮᱠᱟᱱ ᱥᱚᱨᱚᱜ ᱯᱩᱨᱤ" ᱞᱮᱠᱟᱭ ᱢᱮᱛᱟ ᱦᱟᱫ ᱛᱟᱦᱮᱸᱫ ᱾ ᱱᱚᱣᱟ ᱧᱮᱞᱛᱮ ᱟᱡ ᱵᱟᱵᱟ ᱟᱹᱰᱤᱜᱮ ᱟᱹᱲᱤᱥ ᱮᱱᱟᱭ ᱾ 1᱘᱙᱑ ᱨᱮ ᱟᱡ ᱮᱠᱟᱰᱮᱢᱤ ᱡᱩᱞᱤᱭᱟᱱ ᱨᱮ ᱪᱤᱛᱟᱹᱨ ᱜᱮᱭᱟᱱ ᱦᱟᱥᱚᱞ ᱞᱟᱹᱜᱤᱫ ᱯᱭᱟᱨᱤᱥ ᱮ ᱨᱩᱣᱟᱲ ᱮᱱᱟ , ᱚᱱᱰᱮ ᱣᱤᱞᱤᱭᱚᱢᱼᱟᱰᱳᱞᱯᱷ ᱵᱚᱣᱜᱭᱨᱮᱣ ᱟᱨ ᱜᱩᱥᱛᱟᱵᱷᱮ ᱢᱚᱨᱮᱣ ᱴᱷᱮᱫ ᱮ ᱯᱟᱹᱴᱷᱩᱣᱟᱹ ᱮᱱᱟ ᱾ ᱮᱛᱚᱦᱚᱵ ᱫᱚ ᱟᱡ ᱡᱟᱣᱟᱱ ᱞᱮᱠᱟᱱᱟᱜ ᱛᱤᱸᱜᱩᱱ ᱡᱤᱭᱚᱱ ᱪᱤᱛᱟᱹᱨ ᱮ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱸᱫ ᱾ ᱑᱘᱙᱖ᱼ᱙᱗ ᱨᱮ ᱢᱟᱴᱤᱥᱤ ᱚᱥᱴᱨᱮᱞᱤᱭᱟᱱ ᱪᱤᱛᱟᱹᱨ ᱵᱟᱰᱚᱦᱤ ᱡᱚᱱ ᱯᱤᱴᱚᱨ ᱨᱚᱥᱮᱞ ᱥᱟᱞᱟᱜ ᱮ ᱧᱟᱯᱟᱢ ᱮᱱᱟ ᱾ ᱑᱘᱙᱘ ᱨᱮ ᱠᱟᱢᱤᱞᱮ ᱯᱤᱥᱟᱨᱳ ᱦᱟᱜ ᱫᱤᱥ ᱦᱩᱫᱤᱥ ᱛᱮ ᱞᱚᱱᱰᱚᱱ ᱨᱤᱱᱤᱡ ᱡᱮᱹ ᱮᱢᱹ ᱰᱚᱵᱞᱩᱹ ᱴᱚᱨᱱᱚᱨ (j m w turner)ᱴᱷᱮᱫ ᱪᱤᱛᱟᱹᱨ ᱪᱮᱫᱚᱜ ᱮ ᱪᱟᱞᱟᱣ ᱞᱮᱱᱟ ᱾

ᱮᱯᱨᱤᱞ ᱑᱙᱐᱖ ᱠᱚᱥᱮᱫ ᱟᱡ ᱯᱟᱵᱞᱚ ᱯᱤᱠᱟᱥᱳ ᱥᱟᱞᱟᱜ ᱮ ᱧᱟᱯᱟᱢ ᱮᱱᱟ , ᱯᱤᱠᱟᱥᱳ ᱟᱡ ᱠᱷᱚᱱ ᱑᱑ ᱥᱮᱨᱢᱟᱭ ᱦᱩᱰᱤᱧ ᱜᱮ ᱛᱟᱦᱮᱸᱫ ᱾ ᱟᱹᱠᱤᱱ ᱵᱟᱱᱟᱦᱚᱲ ᱡᱤᱭᱚᱱ ᱵᱷᱩᱨ ᱞᱟᱹᱜᱤᱫ ᱠᱤᱱ ᱡᱚᱴᱟᱣ ᱮᱱᱟ ᱾ ᱟᱹᱠᱤᱱ ᱵᱷᱤᱛᱨᱤ ᱨᱮ ᱢᱤᱫ ᱢᱩᱲ ᱛᱚᱯᱷᱟᱛ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ ᱢᱟᱴᱤᱥᱤ ᱯᱨᱚᱠᱨᱩᱛᱤ ᱠᱷᱚᱱ ᱪᱤᱛᱟᱹᱨ ᱮ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱸᱫ ᱟᱨ ᱯᱤᱠᱟᱥᱳ ᱫᱚ ᱟᱡ ᱟᱡᱟᱜ ᱵᱷᱟᱹᱵᱤᱛ ᱠᱷᱚᱱ ᱪᱤᱛᱟᱹᱨ ᱮ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱸᱫ ᱾ ᱟᱹᱠᱤᱱᱟᱜ ᱪᱤᱛᱟᱹᱨ ᱨᱮᱱᱟᱜ ᱥᱟᱛᱟᱢ ᱨᱮ ᱞᱮᱛᱟᱲ ᱛᱤᱨᱞᱟᱹ ᱟᱨ ᱛᱷᱤᱨ ᱡᱤᱭᱚᱱ ᱪᱤᱛᱟᱹᱨ ᱠᱤᱱ ᱵᱮᱱᱟᱣ ᱛᱟᱦᱮᱸᱫ ᱾ ᱢᱟᱴᱤᱥᱤ ᱟᱨ ᱯᱤᱠᱟᱥᱳ ᱛᱤᱠᱤᱱ ᱯᱩᱭᱞᱩ ᱫᱷᱟᱣ ᱫᱚ ᱡᱚᱨᱴᱨᱩᱰ ᱥᱴᱟᱭᱤᱱ ᱵᱟᱥᱟ ᱨᱮᱠᱤᱱ ᱧᱟᱯᱟᱢ ᱞᱮᱱᱟ ᱾ ᱤᱥᱤ ᱥᱟᱭᱟᱝ ᱨᱮᱱᱟᱜ ᱯᱩᱭᱞᱩ ᱜᱮᱞᱟᱝ ᱨᱮ ᱡᱚᱨᱴᱨᱩᱰ ᱥᱴᱟᱭᱤᱱ ᱟᱡ ᱫᱟᱫᱟ ᱞᱤᱭᱳ ᱥᱴᱟᱭᱤᱱ,ᱢᱟᱭᱠᱮᱞ ᱥᱴᱟᱭᱤᱱ ᱟᱨ ᱢᱟᱭᱠᱮᱞ ᱤᱡ ᱛᱤᱨᱤ ᱥᱟᱨᱟ ᱮᱢᱟᱱ ᱠᱚᱫᱚ ᱢᱟᱴᱤᱥᱤ ᱪᱤᱛᱟᱹᱨ ᱨᱮᱱᱟᱜ ᱥᱮᱬᱟ ᱜᱚᱨᱟᱠᱷ ᱟᱨ ᱥᱚᱦᱚᱫᱤᱭᱟᱹ ᱠᱚ ᱛᱟᱦᱮᱸ ᱠᱟᱱᱟ ᱾ ᱤᱱᱟᱹ ᱥᱟᱶ ᱟᱨ ᱵᱟᱞᱴᱤᱢᱳᱨ ᱨᱤᱱ ᱵᱟᱨ ᱟᱢᱮᱨᱤᱠᱟᱱ ᱡᱚᱴᱟᱣ ᱠᱳᱱ ᱥᱤᱥᱴᱚᱨ ᱠᱞᱟᱨᱤᱵᱮᱞ ᱟᱨ ᱤᱴᱴᱟ ᱢᱟᱴᱤᱥᱤ ᱟᱨ ᱯᱤᱠᱟᱥᱳ ᱪᱤᱛᱟᱨ ᱨᱤᱱ ᱥᱮᱬᱟ ᱠᱟᱣᱰᱤ ᱥᱚᱦᱚᱫᱤᱭᱟᱹ ᱠᱤᱱ ᱛᱟᱦᱮᱸᱠᱟᱱᱟ ᱾ ᱠᱳᱱᱼᱟᱜ ᱥᱟᱢᱴᱟᱣ ᱡᱟᱨᱣᱟ ᱪᱤᱛᱟᱹᱨ ᱠᱚᱫᱚ ᱱᱤᱛᱚᱜ ᱵᱟᱞᱴᱤᱢᱳᱨ ᱢᱭᱩᱡᱤᱭᱚᱢ ᱚᱯᱷ ᱟᱨᱴ ᱨᱮ ᱥᱚᱫᱚᱨᱚᱜ ᱠᱟᱱᱟ ᱾ ᱢᱟᱴᱤᱥᱤ ᱢᱳᱨᱳᱠᱳ ᱨᱮ ᱑᱙᱑᱒ ᱠᱷᱚᱱ ᱑᱙᱑᱓ ᱫᱷᱟᱵᱤᱡ ᱗ ᱪᱟᱸᱫᱚᱭ ᱛᱟᱦᱮᱸᱞᱮᱱᱟ ᱟᱨ ᱤᱱᱟᱹ ᱚᱠᱛᱚ ᱨᱮ ᱒᱔ ᱜᱚᱴᱟᱝ ᱪᱤᱛᱟᱹᱨ ᱮ ᱥᱚᱫᱚᱨ ᱞᱮᱫᱼᱟ ᱾

᱑᱙᱔᱑ ᱨᱮ ᱦᱮᱱᱨᱤ ᱞᱟᱡ ᱠᱮᱱᱥᱟᱨ ᱵᱮᱢᱟᱨ ᱟᱨᱡᱟᱣ ᱦᱟᱫᱮᱭᱟ ᱡᱟᱦᱟᱸ ᱠᱷᱟᱹᱛᱤᱨ ᱥᱚᱨᱡᱚᱨᱤ ᱦᱩᱭ ᱟᱫ ᱠᱤᱱᱟ ᱾ᱤᱱᱟᱹ ᱛᱟᱭᱚᱢ ᱯᱟᱨᱠᱚᱢ ᱟᱨ ᱢᱟᱹᱪᱤᱨᱮᱜᱮ ᱛᱚᱞ ᱫᱚᱦᱚ ᱮᱱᱟᱭ ᱾ ᱤᱱᱟᱹ ᱛᱟᱭᱚᱢ ᱦᱚᱲᱢᱚ ᱦᱚᱸ ᱪᱤᱛᱟᱹᱨ ᱟᱨ ᱛᱷᱟᱯᱚᱱ ᱜᱚᱲᱦᱚᱱ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱵᱟᱭ ᱮᱢ ᱞᱮᱫᱼᱟ ᱾ ᱟᱡ ᱱᱚᱣᱟ ᱮᱴᱠᱮ ᱴᱚᱬᱮ ᱛᱟᱞᱟᱨᱮ ᱜᱚᱲᱦᱚᱱ ᱞᱟᱹᱜᱤᱫ ᱱᱟᱣᱟ ᱰᱟᱦᱟᱨ ᱮ ᱧᱟᱢ ᱠᱮᱫᱟᱭ ᱾ ᱟᱡᱤᱡ ᱢᱤᱫ ᱪᱮᱪᱮᱫᱤᱭᱟᱹ ᱠᱟᱜᱚᱡ ᱥᱤᱴ ᱦᱟᱱᱟ ᱱᱷᱟᱣᱟ ᱨᱚᱸ ᱟᱛᱮᱫ ᱮᱢᱟᱭᱟᱭ ᱟᱨ ᱟᱡ ᱫᱚ ᱚᱱᱟ ᱠᱚ ᱜᱮᱫ ᱠᱟᱛᱮᱫ ᱡᱩᱲᱟᱹᱭ ᱠᱟᱛᱫ ᱱᱟᱣᱟ ᱜᱚᱲᱦᱚᱱ ᱮ ᱥᱤᱨᱤᱡᱼᱟ ᱾ ᱠᱟᱜᱚᱡ ᱜᱮᱫ ᱠᱟᱛᱮᱫ ᱪᱤᱛᱟᱹᱨ ᱵᱮᱨᱮᱫ ᱫᱚ ᱟᱡᱟᱜ ᱢᱩᱪᱟᱹᱫ ᱡᱤᱭᱚᱱ ᱨᱮ ᱵᱟᱹᱲᱛᱤ ᱜᱮ ᱠᱩᱨᱩᱢᱩᱴᱩ ᱞᱮᱫ ᱨᱮᱦᱚᱸ ᱯᱩᱭᱞᱩ ᱫᱷᱟᱣ ᱫᱚ ᱑᱙᱑᱙ ᱨᱮ ᱟᱭᱜᱳᱨ ᱥᱴᱨᱟᱵᱷᱤᱸᱥᱠᱤ ᱛᱤᱠᱤᱱᱟᱜ ᱚᱯᱨᱟ ᱞᱮ ᱪᱟᱸᱴ ᱫᱩ ᱨᱳᱥᱤᱜᱱᱚᱞ ᱨᱮ ᱵᱮᱵᱷᱟᱨ ᱞᱮᱫᱼᱟᱭ ᱾

᱑᱙᱔᱓ ᱨᱮ ᱟᱡ ᱵᱷᱮᱱᱥᱤ ᱛᱮ ᱩᱪᱟᱹᱲ ᱮᱱᱟᱭ ᱾ ᱡᱟᱦᱟᱸᱨᱮ ᱟᱡ ᱟᱡᱟᱜ ᱯᱩᱭᱞᱩ ᱵᱟᱰᱚᱦᱤ ᱯᱚᱛᱚᱵ ᱡᱟᱡ ᱞᱟᱹᱜᱤᱫ ᱥᱮᱬᱟ ᱠᱟᱜᱚᱡ ᱜᱮᱫ ᱪᱤᱛᱟᱹᱨ ᱨᱮᱸᱟᱜ ᱯᱨᱳᱡᱮᱠᱴ ᱮ ᱥᱟᱵ ᱠᱮᱫᱼᱟᱭ ᱾᱑᱙᱔᱖ ᱨᱮ ᱱᱚᱣᱟ ᱡᱟᱡ ᱨᱮᱱᱟᱜ ᱩᱪᱷᱟᱱ ᱥᱟᱶ ᱱᱚᱣᱟ ᱠᱟᱚᱡ ᱜᱮᱫ ᱤᱫᱤ ᱟᱛᱮᱫ ᱫᱤᱥᱚᱢ ᱦᱚᱲ ᱠᱚ ᱵᱟᱰᱟᱭ ᱠᱮᱫᱼᱟ ᱠᱟᱜᱚᱡ ᱜᱮᱫᱟ ᱾

᱘᱔ ᱵᱚᱪᱷᱚᱨ ᱩᱢᱮᱨ ᱨᱮ ᱟᱡ ᱓ ᱱᱚᱵᱷᱮᱢᱵᱚᱨ ᱑᱙᱕᱔ ᱨᱮ ᱵᱚᱸᱜᱟ ᱛᱟᱞᱟ ᱮᱸᱟᱭ ᱾

ᱵᱟᱨᱦᱮ ᱡᱚᱱᱚᱲ

• Matisse and his Cats
• Footage of Henri Matisse in Vence, France working on the New Chapel of Vence
• Henri Matisse: Life and Work 500 hi-res images

• Musée Matisse Nice
• The nude in Matisse
• Getty Research Institute. Los Angeles, California
• Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves, 1910
• Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century A New York Art Resources Consortium project. Matisse exhibition catalog, and photoarchive file of Young Sailor II.

ᱥᱟ.ᱠᱷᱭᱟ.ᱛ