The recognized Organisation "Yatrides and his century" here pay tribute to the Parisian Critics who acknowledged the stamp of genius in YATRIDES '  WORK in 1956 during his first exhibition in Paris "Galerie des Voyelles", rue des Saints-Pères, St-Germain-des-prés and to Madame Chastenet de Gery who directed the Gallery. Their discernment was commendable, all the more given the fact that yatrides was young and American born in France and especially that these critics were at the height of their powers and with cutting judgment. Among other esteemed Critics, we quote these ones :


"(...) l'extrème, l'esprit de recherche, la technique et la virtuosité du peintre sont remarquables" 
"(...) Georges YATRIDES mérite qu'on s'intéresse à lui et à sa peinture". 
"(...) YATRIDES peint de la plus étonnante façon." 

"(...) des personnages et des natures mortes, des paysages d'une pureté distincte et rare, d'une nette personnalité" 5 mars 1956.

Literally removed from the Chastenet' Gallery by Samuel E. JOHNSON in the early days of the exhibition, YATRIDES often regretted not being able to show his gratitude to Madame CHASTENET DE GERY, whom the Gallery of Vowels, artist's cottage of the "Rive Gauche" (Left Bank), had ruined. The "Right Bank" of the Seine of Paris took all the successes.



(...) a thin slab passing through the sky overhead. Elongated and quite simple in form, this Slab contains all genetic machinery, ll knowledge, all prophecy, the ideal promise of all enlightenment.

It is the same slab that CLARKE and KUBRICK used nine years later, in 1968, in the cinematic triumph "2001 : A SPACE ODYSSEE". 

Through this symbol, great cosmic visionbs have beeb attained. 

Extract from "Yatrides Great Master of time" (Arthur Conte)



"In the latest catalogue from Christie's, he is placed beside Vlaminck and, in the sales, between Chagall and Picasso. Isolated in his retreat, 365 paintings are among American private collections. However much Yatridès refuses the "showbiz" circuit and cannot be categorized ("Outside the tumult", according to René Char), he is nevertheless part of a select club, that of 15 painters, who during this century have lived through their painting".

Josette Milgram "Lui",  avril 1983



"... Absolutely exceptional (...) whose canvases sell for a small fortune (...) beside those of Braque, Léger, Vlaminck, Picasso, Chagall and Ernst in the U.S.A., and who is considered throughout the world as an authentic innovator in the tradition of the Great Masters in the history of Fine Arts. (...) His canvases strike one right away by their technical mastery, the absolute perfection of the graphics and an amazing reflection of light make you aware of a universe, if not the universe, in which are inscribed the alpha and the omega of man's adventure, from the earth to the heavens, from science to metaphysics".

"Marie-Claire", June 1979    



YATRIDES is a painter who works his material fully, as did LEONARDO DA VINCI. He invents colours and processes. In part alchimist, he even registers patents.

"The first time I saw some of his paintings was at an exhibition in Chicago. They were amidst works by Braque, Picasso and Chagall".

In his book on YATRIDES, Arthur CONTE resolved to show the greatest number of canvases possible, whilst recounting the painter's history, his Greek origins, his name meaning "doctor's son", his astrological sign (Pisces ascending in Taurus, like Chopin and Michelangelo), the events taking place in 1931 - the year of Yatridès birth. The year of "Flappers and Charleston" when Joseph Stalin conclusively secured absolute power, when Al Capone, finally arrested in Chicago, was sentenced to 11 years forced labour for... tax evasion.

We rediscover here this same writer, Arthur Conte, who has dissected all the firsts of January of transitional years (like "January 1st 1900"), (...) the great paths of history as he was able to do with "Yalta ou le partage du monde" ("Yalta, or the Sharing out of the World"), and again with "Verdun".

YATRIDES, a man who seeks the boundaries of time in space. Often slipping into the fantastic. And one is only half surprised to learn that his works, in particular "The Adolescent and the Child" (*) has inspired CLARKE and KUBRICK for their film "2001: A SPACE ODYSSEE".

Sylvie Metzelard, "Yatridès Master of Time" by Arthur Conte               
Extracts from "Le Parisien" May 22nd and 23rd 1993                             

(*) The first Yatrides' Slabs-Monoliths
are dating back to 1959 (See "Yatrides-Kubrick"
on in "His work"



Art lovers will be delighted that, like XVth century Florence, XXth century France *  finally possesses its own genius. "Yatridès' present situation is paradoxal", states the two pages folder *, that accompanies the presentation of his works (...) Mr. Bourmeyster, professor at Grenoble 111 University, who is as it were Yatridès' hagiographer, provides us with the explanation in his work "Yatridès, l'anti-Picasso" . The metaphysic ambition: the mastery of time through a pictorial art that transcends human possibilities and links it to a divine act". There you are - it is quite straightforward.

G. Schurr, commettant de Mr Jacques Boussac - "Guidargus" 1984

Correcting* France : too restrictive. "American" first, born in France, 
from Greek blood. In our opinion, universal citizen.
We have to be honoured he often choose our country as studio. 
Two pages folder : In fact, a 100 pages catalogue with more than 70 reproductions, color prints mostly 

Note: "Guidargus life" in 1984 : one year old.

Note :  En 1984, le Guidargus a un (1) an d'existence.


Letter from G. SHURR 

"Excessive praise of a painter (...) And all extravagantly laudatory literature, can only astound the art critic and attract more or less violent reactions. However, I have absolutely no desire to discredit the painter. I have too much respect for painting to think of obstructing an artistic career" (!).

Gérald Shurr 1984     

Note : In his one year old new publication, Schurr, recent critic, knew nothing about YATRIDES ' work begun in 1945. In accordance with his mind, YATRIDES '  work was born in 1983, birthdate of GUIDARGUS. Unaided, being unaware of the great estimeeded Critics, his Helders, awkwarly he expressed how much he admires YATRIDES, ready to help YATRIDES out !  To our mind, M. Schurr appeared full of contradictions, with some flimsy, ungenuous cunning.


Conclusion du débat SHURR / BOUGMEYSTER

Letter  from  MAITRE  BLACHE

"I can only confirm the terms of the telephone conversation that I had with Mr BOUSSAC, Director of the HOTEL DROUOT Gazette :
"We shall not mention your adjudications regarding the painter YATRIDES, for we should be obliged to speak ill of the artist : Georges YATRIDES' works are bought by Associations grouping several art lovers, which results in a distortion of the painter's standing..."

I wish to make clear that Mr BOUSSAC had authorized me, in the event of your reacting, to inform you of this telephone conversation.

Monsieur BOUSSAC appears to be unaware of the existence of the Foundations and their preponderant role in cultural and artistic life.

So that you may be reassured, I can tell you that the drawing " Mouvement d'une mémoire" (Movement of a Memory) has been bought (140,000 Francs -21,340 Euros) by a Certified Public Accountant, and, that the lithograph "Et la mort ne sera plus" (And Death Shall be No More) was sold to a Print Dealer (35,000 Francs -5,300 Euros).

Given the state of information, one should not be surprised to see the International Art Market leaving our country to establish itself abroad. My splendid success of May 13th will, alas, have resulted in increasing the auction sales of Monsieur GERMANN's modern paintings in Zurich.

Deploring this state of things, please accept my kindest regards".

Maître Pierre BLACHE

Auctioneer, July 18th 1985

"Nous  parlerons  pas  de  vos  adjudications  concernant  le  peintre  YATRIDES  car  nous  serions  dans  l'obligation  de  dire  du  mal  de  cet  artiste".

"Les oeuvres de Georges YATRIDES sont achetées par des Associations regroupant plusieurs amateurs ce qui a pour but de fausser la cote d'un peintre..."

Je tiens à vous préciser que Mr. BOUSSAC m'avait autorisé, dans le cas d'une réaction de votre part, de vous informer de cette conversation téléphonique.

Monsieur BOUSSAC  semble  ignorer  l'existence  des  Fondations  et  leur  rôle  prépondérant  dans  la  vie  culturelle  et  artistique.

Afin que vous soyez rassuré, je vous indique que le dessin "Mouvement d'une mémoire" a été acheté par un Expert - Comptable *  et que la lithographie "Et la mort ne sera plus" a été adjugée à un Marchand d'estampes *.

Avec de telles conditions d'informations, il ne faut pas s'étonner de voir le Marché International de l'Art quitter nos frontières pour s'installer à l'étranger.

Ma splendide réussite du 13 mai aura eu hélas pour but de favoriser la vacation de tableaux modernes de Monsieur GERMANN à ZURICH.

Regrettant cet état de fait, veuillez agréer, cher Monsieur, l'expression de mes sentiments distingués."

Maître Pierre BLACHE, Commissaire-Priseur ,  18 juillet 1985            


With regard to the Foreword of the 1996 Edition of the "Guide MAYER", "La Gazette de l'Hôtel Drouot" lays stress on its particular nature: "Useless and suspect, which one is always at liberty to leave in the cloakroom to the glory of the painter of Greek-American origins, Georges Yatridès".

Signed : M. Didier Romand et Yves Gairaud, principals of M. Jacques Boussac.



To whom it may concern

Communiqué from the Acatos Publishing House - MAYER Guide 

By this present letter, the Acatos Publishing House testifies that the off-print on the artist Georges Yatridès included in the 1996 MAYER Guide is not an advertising insertion but solely a notice that the artist has asked us to publish. It is therefore a right of communication that we have accorded to this artist, for the MAYER Guide is also a means of communication which, wilst remaining neutral, gives all professional categories in the art world the right to speak. Our mandate being objectivity, the off-print concerned consists of a résumé taken from explicit documents held by the Acatos Publishing House and the MAYER Guide. This is why, in order not to harm the integrity of this great artist, we have granted him this off-print free of charge.

Editions Acatos
Lausanne - Paris, le 18juin 1996

In brief : Avoid confusions, imitations and fake works :
-Monochromes or "bi-chromes" in water on canvas confused with oils on canvas
-Engravings confused with ink-drawings
-Posters confused with lithographies or lithographs.
But also : imitations and forged works including paintings.

What is more, some groups take advantage of this situation to accentuate the direction 
they impose on the "art market" and of course, to the detriment of small collectors.


Concernant l'AVIS du "GUIDE MAYER" 1996, "LA GAZETTE DE L'HOTEL DROUOT" en souligne les caractéristiques : "Inutile et suspect qu'il est toujours loisible de déposer au vestiaire à la gloire du peintre d'origine Greco-Américaine Georges YATRIDES".
Signé : MM. Didier ROMAND et Yves GAIRAUD 1996, Commettant M. Jacques Boussac.


A qui de droit
(notamment à la Gazette Drouot)
Communiqué des Editions Acatos - Guide MAYER

Par la présente, les Editions Acatos attestent que le tiré-à-part sur l'artiste Georges Yatridès contenu dans le Guide MAYER 1996 n'est pas une insertion publicitaire mais uniquement un AVIS que l'artiste nous a demandé de faire passer. Il s'agit donc d'un droit de communication que nous avons donné à cet artiste car le Guide MAYER est également un moyen de communication qui, tout en gardant sa neutralité, donne un droit à la parole à toutes les catégories professionnelles du monde de l'art. Notre vocation étant l'objectivité, le tiré-à-part concerné est constitué d'un résumé extrait de documents explicites détenus par les Editions Acatos et le Guide MAYER.C'est ainsi que pour ne pas nuire à l'intégrité de ce grand artiste, nous lui avons accordé gratuitement ce tiré-à-part.
Editions Acatos             
Lausanne - Paris, le 18juin 1996

Bref exposé du Communiqué Mayer
Extraits de la Direction Générale des Impôts : 

-  Confusion entre peintures à l'eau en camaieux monochromes ou "deux couleurss"  et  Peinture/Huile 
-  Confusion entre détrempes à l'eau  et  Peintures/Huile 
-  Confusion entre gravures  et   Dessins/Encre 
-  Confusion entre gravures douces (atténuées-grisées)  et Dessins-Graphite 
-  Confusion entre reproductions polychromiques off-set  et  Lithographies 
-  Confusion entre quadrichromies off-set  et  Estampes (Imprimées d'après gravure sur métal ou bois, ou support lithographique) 

Entretenues par des ventes aux enchères, ces "confusions" permettent à un groupe de personnages d'accentuer l'orientation qu'il imprime au "marché de l'art", au détriment de modestes collectionneurs non avisés. Ces "opérations" se retrouvent imprimées dans certains guides dont "GUIDARGUS" de Gérald SCHURR-soutenu par la GAZETTE de l'Hôtel Drouot de Jacques BOUSSAC, Schurr aujourd'hui décédé) et "COTE DE L'ART" (J.-C. AKOUN). 

Les prix fantaisistes issus de la vente aux enchères de ces "objets" sans garanties, prétendent faire office de cote et abusent les collectionneurs naïfs qui se dessaissent parfois ainsi, de quelques oeuvres de valeur. Il est bon de souligner ici à combien s'acquièrent les oeuvres de YATRIDES lorsqu'elles sont authentiques : 

7 000,- €uros (# 45.000 F) une Lithographie protégée par un ''certificat spécifique'' 

Certificat "élaboré" en un double volet de quatre pages d'un seul tenant, avec en couverture la reproduction polychrome (quadrichromie minimum) de l'exemplaire concerné ;  en deuxième page (deuxième de couverture) les signatures de YATRIDES et MOURLOT Lithographe ainsi que leurs "foulages" respectifs qui se retrouvent sur l'exemplaire lithographique lui-même ;  en troisième page les spécificités du tirage unique aux dimentions notées et en quatrième de couverture, la description de l'image par un auteur célèbre (Copy Rights), plus deux particularités distinctes en cas de vérification extrème.
25. 000- €uros (# 160 000 F) un Dessin Graphite de dimensions moyennes (1/2 Aigle), avec certificat descriptif de la main de YATRIDES sur papier spécifique, qui en garantisse l'authenticité, plus deux particularités distinctes en cas de vérification extrème. 

Note importante 1 
Sur les seuls quatre (4 ) tirages réalisés (165, 165,165, 145 soit 640 exemplaires au total en circulation) d'après quatre (4) oeuvres de YATRIDES, seules cinq (5) lithographies certifiées sur les 640 réalisées ont été adjugées aux enchères et dont les prix ont varié entre FF 20.000 (# 3,000,- €)et FF 52.000(# 8,000-, €). Tout ce qui apparaît sans l'un des certificats décrits ci-dessus, doit être considéré comme faux. A fortiori les Peintures/Huiles absolument éblouissantes, que les Collectionners expérimentés ne peuvent confondre, d'autant qu'ils sont les seuls à pouvoir les acquérir. Jusqu'à ce jour, deux (2) Peintures/Huile se sont touvées sur le "marché". Ce qui rassure ces Collectionneurs avertis :  YATRIDES a réalisé environ cent-soixante (160) Peinture/Eau qui sont l'objet d'imitations ou contrefaçons et quatre cent (400) Peintures/Huile ;   les caractéristiques très distinctes de ces dernières les rendent incopiables :  Ses recherches lui ont fait découvrir certaines propriétés encore inconnues de la lumière et des moyens de les appliquer sur unesurface plane (Voir sur "" dans "Sa vie" :  "Son entourage" Paul PERROUD,  Directeur des Bureaux d'applications spéciales de la Physique CEA-C.E.N.G.) 

Note importante 2 

Enfin il est bon de signaler que l ' Avis du Guide MAYER est constitué d'extraits de deux "VERIFICATIONS APPROFONDIES DE LA SITUATION FISCALE D'ENSEMBLE" (V.A.S.F.E.) et d'une Biographie Professionnelle établie par l'Administration Fiscale, sur ordre de la Direction Générale des Impôts (Voir sur ce site  :   "Contrôle fiscal  - Analyse/Evaluation "). 

Attribuer à la Direction Générale des Impôts les termes "INUTILE ET SUSPECT"  (SIC  "LA GAZETTE DE L'HOTEL DROUOT") nous paraît abusif, imprudent sinon téméraire. YATRIDES ( Américain  Grec d'origine ) et CHAGALL ( Russe ) seuls ont eu des Biographies Professionnelles formellement reconnues intègres, établies par les Services compétents de l ' ADMINISTRATION FISCALE dont les pouvoirs, leurs attributions, ne comportent aucun dillétantisme ou fantaisie médiatique orientée, ni tendresse promotionnelle d'aucune sorte.

L'ensemble des textes qui concernent  l'oeuvre et la vie de YATRIDES ne proviennent pas d'une organisation quelconque ou d'un "galériste bien placé", quels qu'ils soient. 

MM. SCHURR (décédé), Didier ROMAND, Yves GAIRAUD, et affiliés avaient le même commettant, Jacques BOUSSAC, lui-même aux écoutes des bienveillances de l'establishment, ont oublié la signification de GUIDARGUS  (ARGUS c'est-à-dire ARGOS personnage fabuleux de la Grèce antique qui possédait cent (100) yeux dont cinquante (50) restaient ouverts pendant son sommel). Pauvre ARGUS tué par HERMES qui jeta ses yeux sur la queue du Paon. ""Le Paon crialle et braille''(sic). ''Se parer de ses plumes pour se prévaloir de mérites usurpés"(sic) n'est-ce pas "être très vaniteux" (sic). Signé Larousse 2010.



YATRIDES, a painter who needs no introduction. Matisse, Braque, Picasso; these are the earlier influences. Makes his mark early as a painter, when several canvases exhibited in the Crypt of the Montmartre Basilica revealed their synthetic power and impalpable poetry. The Appollonian serenity of ancient Greece, Christian symbolism and the intuition of future transcendence combine with such a perfection that a single glance encompasses spaces and centuries. More than the summary and quintessence of a culture, he is the very soul of a civilization, who having reached the pinnacle of his aesthetic pursuits is elated and enraptured... Purity and silence of these bodies become cosmic mirrors... Interpenetration of consciousness and the universe.. One would need light as a writing material to express this state of grace and majesty, these moments of carnal eternity. "Le Pain Vivant Cosmique" (The Living Cosmic Bread), "Ezéchiel" (Ezekiel), "l'Androgyne" (The Androgyne), and "La mort ne sera plus" (And Death Shall be No More). So many paintings that usher us into the most intimate depths of the universe. If the colours do not arrest the gaze, they do not allow it to retreat either. We are obliged to read, through the beings and the landscapes, an immaterial story that is more real than that of ostensible life.

Exhibition "Cimaises du Ciel" (The Picture Rails of Heaven), Crypt of the Montmartre Basilica)

Lucia Samaras "Indépendance" n° 777, Juillet 1981 
France, Angleterre, Belgique, U.S.A., Canada

Note : Exceptionally, his only personal monographic
exhibition was extended by one month



YATRIDES  :  un peintre qu'on ne présente pas.  MATISSE, BRAQUE, PICASSO : voici pour les influences antérieures. Se manifeste depuis l'artiste original dont quelques toiles présentées dans la Crypte de la Basilique de Montmartre nous ont révélé la puissance synthétique et la poésie impalpable. Le calme apollinien de la Grèce antique, le symbolisme chrétien et l'intuition d'une transcendance future s'unissent avec une telle perfection qu'on embrasse d'un seul regard les espaces et les siècles. Plus que le résumé et la quintessence d'une culture, c'est l'âme d'une civilisation qui, parvenue au paroxysme de ses recherches esthétiques, s'exalte et s'extasie... Pureté, silence de ces corps devenus des miroirs cosmiques... Interpénétration de la conscience et de l'univers... Il faudrait écrire avec de la lumière pour exprimer ces états de grâce et de gloire, ces instants d'éternité charnelle. " Le Pain Vivant Cosmique", " Ezéchiel ", "l'Androgyne " et " La mort ne sera plus ", etc... Autant de toiles qui nous introduisent dans l'intimité de l'infini. Si les couleurs n'arrêtent pas le regard, elles ne lui permettent pas, non plus, de fuir. Nous sommes contraints de lire, à travers les êtres et les paysages, une histoire immatérielle plus réelle que celle de la vie apparente.

Exposition " Cimaises du Ciel", Crypte de la basilique de Montmartre. jusqu'au 1er Septembre 1981.

(Prolongation exceptionnelle de l'exposition des œuvres de Yatridès jusqu'au 30 septembre).

Lucia Samaras "Indépendance" n° 777, Juillet 1981 
France, Angleterre, Belgique, U.S.A., Canada



Locked into his research and his fixity of purpose, he follows currents which are not those of the great movements, claims to be a representational artist, but, in always seeking to go further in his thinking, he eschews schools and fashions. As he is not a man who seeks the easy path, he embarks on his own personal adventure with an intransigence that will make him a man apart.

In the United States, he has been described as an "unique painter of complete individuality".

In the silence of his studio, he engages in strange alchemies that he performs as a scientist - for he will never break off his dialogue with science, always searching as he is for cause and effect. He dissects the colours of his vision, unremitting and restless perfectionist that he is.

Such a degree of pictorial puritanism can only isolate him still further. But his craft is such, his artistic strength so intense, that the most blinkered collectors are starting to take interest in him; in the International Galleries there is no hesitation in comparing him with the great painters in 1959. He exhibits in Chicago, Mexico, New York, in Switzerland and in Greece. In 1974, Parisian artistic circles finally open their doors to him, and Yatridès can then remember that exactly twenty years earlier,Armand Drouant> in 1954, having seen several paintings, wrote to him :

"You have talent, have no doubts about it. You should succeed, do not doubt that either. In other words, you were born an artist".

Thus it is, that today, he sees the world come to him, to this rigourous graphics which supports his new form of expression and which strangely distances us from the colourful turbulence of his Fauvist period. "The drawing is the architecture of human thought". He explains : "The stronger it is, the more primordial it becomes".

Discipline and rigour, does Yatridès, purist to the extreme and perfectionist, take time for living? But what does time for living mean for him, if it is not to paint?

Lucile Duc, "Le Dauphiné Libéré",  Jeudi 10 mai 1979       



Arthur CONTE présente à "l'été du livre" de Metz du 4 au 6 juin sa dernière oeuvre, un livre illustré sur YATRIDES dont "l'Adolescent et l'Enfant" a inspiré KUBRICK et CLARKE pour leur film "2001: ODYSSEE DE L'ESPACE".
Dans cette oeuvre illustrée, Arthur CONTE démontre le génie de cet artiste qui travaille au fond sa matière.

"La lettre de l'Audiovisuel et des Médias", 1er juin 1993  



At the Metz "Summer Book Fair", from the 4th to the 6th of June, Arthur CONTE presents his latest work, an illustrated book on YATRIDES, one of whose works "l'Adolescent et l'Enfant" (Adolescent and Child) inspired KUBRICK and CLARKE in the making of their film "2001: A SPACE ODYSSEE"

In this illustrated work, Arthur CONTE brings to light the genius of this artist who gets right to the heart of his material.

"La lettre de l'Audiovisuel et des Médias",  June 1st 1993    



Cher Maître, 

Nous faisons suite à nos différents entretiens concernant l'état actuel du marché de l'art contemporain en général, et sa position en ce qui concerne votre oeuvre en particulier. 

Nous vous confirmons, après avoir interrogé longuement plusieurs marchands américains, suisses et français particulièrement actifs sur le marché, que les prix d'adjudications suivantes se rapportant à vos oeuvres, traduisent de façon significative la valeur commerciale grandissante de votre oeuvre et remarquablement stable dans son évolution : 

-   Londres 1983 chez CHRISTIE ' S :   vente de l'oeuvre intitulée "L'autre rive" (Peinture/Huile 65x92cm, 1978) au prix de FF 530 00,-(H.T.), 
-   Paris 1983, par le Ministère de Me Pierre CORNETTE de SAINT-CYR :  vente de l'oeuvre intitulée "Les nouveaux Rouleaux" (Peinture/Huile 92x60cm, 1977/1978) au prix de FF 800 000,- détaxée par Jacques DELORS (vente retransmise sur Antenne 2, au Journal de 20 Heures), 
-   Grenoble 1985, par le Ministère de Me Pierre BLACHE :  vente d'une oeuvre intitulée "Mouvement d'une mémoire" (Dessin/Graphite 43x63cm, 1981) au prix de FF 150 000,- et d'un autre Dessin intitulé "Cane à l'orange" (54x73cm, 1980) au prix de FF 148 000, 
-   Zurich, chez GERMANN :   vente d'un dessin sur papier (54x74cm, 1973) étude non définitive pour l'oeuvre peinte intitulée "Le pain biblique", dessin au prix de F Suisses 41 000,-, 

Ainsi que l'ensemble des projets, notamment :  
-   Complexe immobilier proposé pour le Synchrotron de la Ville de Grenoble et réalisé d'après votre oeuvre "Vibration essentielle", 
-   Le livre achevé sur votre oeuvre et votre vie d'Arthur CONTE, 
-   Le film proposé par Jean DELANNOY, en vue de retracer les grands moments de votre vie, 
-   Le film proposé par M. QUINTARD Producteur et Marcel CARNE, 

Cette attitude du marché à l'égard de votre travail est devenue de plus en plus rare pour un artiste vivant et place votre oeuvre dans une situation privilégiée. 
Il faut noter également que les valeurs que vous défendez depuis des années et que représente votre oeuvre, répondent de plus en plus à un besoin grandissant d'authenticité et d'universel que les jeunes artistes et beaucoup de contemporains expriment à tous les stades de leur existence. 

Nous vous prions d'agréer, Cher Maître, L'expression de nos distinguées salutations.

Patrick-F. BARRER, Directeur 
27 avril 1989

P.S. Il est bien évident que cette attitude favorable du marché à l'égard de votre travail est inévitablement aussi le résultat d'une lecture attentive et réfléchie de votre carrière, où chacun a pu constater que votre oeuvre a été associée aux travaux des plus grands artistes de notre siècle dans de nombreuses manifestations internationales. 

Les exemples récents qui ont été retenus et décrits plus hauts, ne font qu'éclairer de façon spectaculaire, mais objective, ce qui longtemps n'était connu que des seuls initiés.



Today, more than ever, the final state he has attained is that of a recluse, even if this recluse seems to have assimilated a vast pictorial culture. A recluse whose quest becomes ever more difficult, perhaps anguished even, as if perfection was the fruit of a long and slow process of ripening. His paintings become more infrequent, flawlessly achieved in their form and breathtaking profundity. More than twenty years after signing a contract which tied him to the biggest American dealers (and markets) Samuel E. JOHNSON, here he is once again in Paris, with Jean-Charles Lignel (1), who does not press him to produce. Yatridès' rhythm is ouside time.

An inaccessible order, like eternity

In his studio, emerging from a jumble of tubes, and above all of alchemist's flasks, his latest paintings are like so many gaping holes pierced in the cement walls of a high-rise district built a quarter of a century ago. At first glance a singular world, cold, bathed in a strange and diffuse luminosity, as if coming from several different sources, encircling beings and things in such way as to render them transparent.

Then fascination takes hold and questions bubble up as we find that the manifestly unerring perfection before our eyes, reveals itself to be merely appearance, despite its incontrovertible construction, its uncompromising horizon, the verisimilitude of what it depicts, but which springs from the inaccessible, from eternity.

It is just that, a command of graphics that dazzles by its logic and purity, perspectives that are abstract by dint of being magnificently ordered, a singular, enigmatic and icy lyricism, born of a restrained palette, devoid of all effects, but of a polished technique, a such perfect material that one could think it stemmed from a machine or a computer. It is nothing of the sort; what YATRIDES achieves, and which already challenges the times, is in keeping with a long tradition however. A craftsman pursuing and going beyond the truebred techniques of all those who, in the history of mankind and the evolution of art, have preceded him.

This light which comes from elsewhere

But what is the dream, or the dreams that Yatridès pursues in painting? Would it be the expression of a kind of authority, the will to organize a world that never yields to men's wishes, a quest for the ineffable and the superhuman, in short an abstract order of a perfect, cold, mysterious and inaccessible beauty? One may think so at least in seeing people and things treated in almost identical manner, as if they proceeded from one and the same nature and bathe in the fusion of the same encircling light. Now, I believe that in YATRIDES' wish to bring order to a world, if not the world, it is a question of the inner world, our inner world "innermost depths", that continues to be a source of anguish for humanity.
Claude Bandieri, "Le Journal",  13 novembre 1978


Geoeges Yatridès 

Englsh translation by Penelope Hamilton
Mail: (yatridès and his century)

Extracts from following documents and works : 
Official French Authorities : Government administrative Yatrides' biography" 

Arthur Conte : "Yatridès master of time" SGL 04.03.1991 
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of invisible reality" , "Yatridès anti-Picasso"SGL24.03.1994, "Interstellars Icons" SGL 31.03.1994, "Yatridès and the Bible" SGL 30.10.96
Samuel E. Johnson : Biographic notes (International Galleries USA)
Monographic catalogues, Yatridès 1954-1993 : Exhibitions (USA permanently, Latin America, Switzerland, Greece, Paris, Provincial France) and Rétrospectives
Monographic catalogues, Yatridès in International Art Festivals :"Great Master Guest of honour" ("International Biennials Canada-France 1987-1989"), "Main Master Guest of honour" ("International Biennials Canada 1988"), "Great Master Guest of Honour" ("International Biennials Vichy, Riom Mozac (Duke's cities), Quebec 1991-1993"), Grand Maître invité d'Honneur
Monographic catalogues, Yatridès : "Main Master guest of Honour" in several important cities organized by Town councils in offices of Mayors ( in France notably : Montmorency residential City)
Schools of Painting Events, USA : "Masters of Modern Art 1910-1960" (Special mention in "Watercolors, Gouaches, Pastels and Drawings from the Cubist, Post-Impressionist, Expressionist and Surrealist Schools 1910-1960"), "Drawings and Watercolors 1900-1959" (Art Event following this held by the American Ambassy in Paris (Musée de l'Orangerie, winter 1958-1959 : "From Clouet to Matisse" - Drawings in American Private Collections"), "Specialists in XXth Century Masters" (Special mention in "Collector's Choice").
University theses "The painter outside the tumult" (Sciences et Télécommunications Masters', MSTC Universities Grenoble III 1981), "Public Relations and communications techniques in the service of Painting -Yatridès" (Lehodey-Dissertation mémoire 402 pages, 1983 - School of Press Attachés, Founder and Managing director : Denis Huismans)
Short movies, videos, Broazdcastings: "Yatridès, paintings rails of sky" (Sacré-Coeur Montmartre Paris, Provideo S.A. 1981), "Yatridès the painter outside the tumult" ("René Char" Provideo S.A. 1983), " Yatridès' Art" (Version Originale S.A. 1985), "Germany, Poland, Russia" 1984.
Full-length films : Yatrides' work has fascinated film-makers, movie-directors, semiologists, among the best of our time :
Marcel Carné : Its proposal for a feature film with internationally renowned artists. Scenario provided by Henry - François Rey. Yatridès circumstances had to décline this offer from one of the giants of cinema. 
Jean Delannoy : Famed movie director, film-Makers : "The quality of your painting makes me decide to undertake a film inspired by the originality of your work and items of your own life. It will be for me the consecration of my long career "(24 October 1987) See in "His "life": "His entourage"- "Your life and the beauty of your work, your approach depth numberless still in me the same desire to involved me. With my deep admiration and unwavering friendship". Jean DELANNOY (May 1, 1989). See in the spiral of time ( "Professional notes": "Filmmakers". Despite their great friendship Georges YATRIDES will be unable to take a decision disoriented by the passions his work aroused. 
Arthur C. Clarke and Stanley Kubrick in 1968 will show in their full-length film the metaphysical amplitude of the monoliths Yatridès Plates. Yatrides did not claim any intellectual property rights on the substance and form, arguments of this film that marked our time. See this site, in his "life": "entourage". In his "work": "Slabs of Yatridès" and "the interstellar icons." 
Yatrides -Kubrick : the interstellar Yatridès plates, substance and driving force of "2001: Space Odyssey". See "His work": "Yatridès-Kubrick". 
Miles Millar : Present days : "Georges YATRIDES is the apotheosis of a Master in terms of artistry (...) His body of work is ethereal, not only aesthetically, but in his innate ability to harness the metaphysical aspect of our nature. He is an absolute in the incessant redefining and evolving anatomy of contemporary art and a gift to all of us. The power of this man's vision is everlasting (...) I was enraptured by the dexterity of his mind (...). Georges Yatrides' work is awe-inspiring and rightfully deserves the position it will take in our collective history, he is a true craftsman of the intangible" : Miles MILLAR, February 17, 2009

Société des Gens de Lettres and ADAGP 
Copyrights © 1945-1997. Yatridès and his century. All rights reserved.
Bureau constituted of Senior officials-civil servants
Recognized Organisation.