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O T T I C E L L I
Visible Reality and Invisible Reality
Visible reality? Invisible reality? Surrounding these notions conflicts are brought into play that go far beyond the particular fate of a painting, if one gives the full strength of its meaning to the word visible; that which can be seen, which is allowed to be seen. The history of painting abounds in illustrious examples. I shall only comment upon one of them : BOTTICELLI' s "La Naissance de Vénus" (The Birth of Venus). The age still demands Madonnas and devotional paintings. Antique religious inspiration needed powerful patrons in order to express itself. In this contradictory context, the painter offers us a spectacle which is in no way allegorical.
VENUS offers herself up to our gaze in an attitude that evokes neither lascivious abandon nor outraged modesty. She conceals her nudity without seeking to hide it, with the majestic simplicity of a goddess of antiquity. She has, however, the face of a Madonna, with serene and dreamy expression. Around this living paradox a conflict operates that abolishes Time. On the left, a couple of zephyrs, amorously entwined, blow towards her. On the right, a young woman, clothed in sober attire, strives in vain to unfurl a red veil in front of the wonderful apparition.
Is the puff of wind blown by the zephyrs intended to push the frail barque on which Venus sails towards the shore? Not in the least, it aims to counteract the prudish efforts of the lady to make invisible a visible reality, the nudity of Venus. Left, the transparent wave, the radiance of an ancient Mediterranean. Right, the garden, Eden, the mediaeval paradise. In the clash between these two universes, Venus's nudity is at stake. Shall she be clothed, as the Catholic missionaries will clothe the natives of the New World? Or does she allow herself to be unrobed by this breath of pagan inspiration that heralds the Renaissance?
Venus ' nudity was a disturbing factor in its time, just as today, the invisible reality revealed by YATRIDES disturbs. For he irresistibly breathes and unfurls in accordance with a dynamic that heralds a decisive breakthrough in pictorial art. The final point of no return to traditional representational painting, the justifiable moving beyond abstract expression.
Apostasie 81x100 cm, 1973
YATRIDES disturbs those who place themselves within the conformity of an academic neo-representationalism; the surfeit of fantasy, dream-like depictions, empty spaces, inversed perspectives, male dummies, girls in lascivious postures, mediocre attempts to create strange effects, all this fusty unsaleable stock of past decades, inspired by a Freudianism in the surrealist style, but downgraded by the wave of abstract art. This is the shoddy substitute that the culture makers and the media masters are beginning to offer to a public grown weary of the excesses of the tailend of abstract painters and the sterility of their quest.
The advent of YATRIDES ' WORK, which can be neither categorized nor surpassed, disturbs the little world of critics accustomed to mouthing endless platitudes about the inventiveness of that body, the delicate lightness of this one or the strength of X.
All the petty ploys, the oversights and the silences do not prevent YATRIDES from unceasingly winning a new public, and ever more numerous supporters; all this without having to go through the proven channels of show-biz, publicity campaigns, draconian contracts and banks.
YATRIDES has opened up a problematic space and he leaves everyone the chance of asking questions and answering them in their own way. But, is he content to propose poetic images, questionings left without reply? No, for at this final stage, he still reacts as an artist. He breathes life into his creation. If he creates anguish, he also knows how to soothe it, and in order to do so, he uses but one formula - beauty.
[ The Third Dwelling Place ]
[ Yatridès and other people ] : [ Picasso - Yatridès ] [ Vélasquez-Picasso ] [ The Biblical Icons - Yatridès ]
[ Léonard da Vinci ] [ Raphaël ] [ Botticelli ] [ Menzel-Manet ] [ Matisse ] [ Gauguin - Yatridès ]
Extracts from following documents and works :
Official Authorities : "Administrative biography"
Arthur Conte : "Yatridès master of time" SGDL 04.03.1991
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of the invisible reality" ,
"Yatridès, l'anti-Picasso" SGDL 24.03.1994, "The Interstellars Icons" SGDL 31.03.1994,
"Yatridès and the Bible" SGDL 30.10.96
Monographic catalogues 1954-1993 : Exhibitions and Retrospectives YATRIDES
Monographic catalogues : "International Biennials art festivals" Canada-France from 1987 to 1993
(Great Master guest of honour -Grand Maître invité d'honneur)
Events, Schools of painting 1900-1959, 1910-1960, 1910-1965 : USA Events achievment held with works,
of which Yatridès ' paintings, lent by US important prominent Private Collections of the United States
(See in this website "His work" and in "His life" : "Bibliography")
Films et videos : "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. See "His Work" and in "His Life" : "Bibliography".YATRIDES ' Work has fascinated film-makers, movie-directors, semiologists, among the best of our time.
See in this website "His life" : "Entourage" in which appear "Jean DELANNOY", "Marcel CARNE"
French famed movie Directors, film-Makers
and in "His work" : YATRIDES-KUBRICK
Société des Gens de Lettres et ADAGP
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Bureau constituted with Senior officials civil Servants