V E L A S Q U E Z
P I C A S S O

Work as Art - Work as Decor
( Rigour objecting to dismemberment )

PICASSO uses various elements from VELASQUEZ's celebrated painting "Las Meninas" (Young Ladies of the Court) in forty-four "studies". This could constitute a fascinating analysis of VELASQUEZ's work and would lend itself well to such an undertaking. Let us refer to the first chapter "Les Suivantes" (The Ladies' Maids) of Michel FOUCALT 's work, "Les mots et les choses" (Words and Things). The author sets great store by examining the relationships established between the individuals inside and outside of the painting : between the Portrait of VELASQUEZ and the  painter VELASQUEZ, the couple, Philippe IV and his spouse reflected in the mirror in the background of the painting, and the individuals presented in the foreground, between the spectators and the canvas turned to the wall, etc... The complexity of these relationships allows him to give prominence to the function of classical representation as being pure representation.

M. ALPOTOV, a Soviet critic specifies: "It seems that we are acceding to an ever higher degree of reality, but we never attain the absolute".

The prodigious montage effected by VELASQUEZ fascinates us by its clarity. What has PICASSO drawn from it? A game of variations whereby he enhances "simplistic qualities through simplistic processes"  to quote YATRIDES '  words. He became interested in VELASQUEZ '  work, repudiated it, dismembered it, and then like a child, become weary of taking a toy to pieces, he moves on, leaving trailing behind him a heap of spare parts, devoid of meaning, transformed into decorative elements.

The  fundamental  difference  between  a  YATRIDES  and  a  PICASSO, is that the  first  depicts  clearly  what  he  has  discovered  and  the  second  seeks  to  depict  it,  and  finds  in  this  seeking, this improvisation, this dialogue with a public astonished by his successive "strokes of inspiration" (for example his FORTY-FOUR "Las Meninas VELASQUEZ DISMANTLINGS", groping around a lot without real distinctive results), the very "raison d'être" of his art.

[ Yatridès and other people ] [Picasso - Yatridès] [ Vélasquez-Picasso-Yatrides ] [ The Biblical Icons - Yatridès ]

[ Léonard da Vinci - Yatrides ] [ Raphaël - Yatrides ] [ Botticelli - Yatrides ] [ Menzel-Manet - Yatrides ] [ Matisse - Yatrides ]

[ Gauguin - Yatridès ]

Extracts from following documents and works :
Official Authorities : "Administrative biography"

Arthur Conte : "Yatridès master of time" SGL 04.03.1991
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of the invisible reality" , "Yatridès, l'anti-Picasso" SGL 24.03.1994
"The Interstellars Icons" SGL 31.03.1994 - "Yatridès and the Bible" SGL 30.10.96
Monographic catalogues 1954-1993 : Exhibitions and Retrospectives YATRIDES
Monographic catalogues : "International Biennials art festivals" Canada-France from 1987 to 1993 (YATRIDES  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 "His life" : "Bibliography")
Films, Videos, University theses : 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" famed movie Directors, film-Makers and  in "His work" :
"YATRIDES - KUBRICK".

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