LEONARDO DA VINCI, an intellect of universal breadth, had sensed better than any other in his era, the possibilities afforded to painting by scientific discoveries. Once the ways in which the human eye perceives had been recognized, it had been the generator of science and painting and had shown him where his objective lay: to set down on the surface of a canvas or other medium, that which the eye sees by means of the play of light and shade, the coloration of the skies, the movement within the landscape, etc... which would already allow the reproduction of the exterior appearance of physical nature or of human nature, to reconstruct in short this simple "reflection" to which the human eye is accustomed.

But as it is a question of an artificial operation, a fiction controlled by pictorial technique, it becomes possible to use this "reflection" as a carrier, and go still further. The pictorial work was thus becoming a privileged material filled with signs that the viewer had to perceive himself in order to go beyond the mere façade of an artificially reconstructed reality. The mission that LEONARDO DA VINCI assigned to painting could not be carried to its conclusion by the master himself, but it was left open to his successors.

See "Synchrotron" project adapted from YATRIDES '  painting and "Yatrides - Kubrick"

 

The gist of what YATRIDES said of "The effect produced by a painting" is to grasp the relation established between the painter who uses optical effects controlled by him, and the eyes of the viewer which apprise him of the "object" depicted on the canvas".

Presenting all the coloured elements on the same plane constitutes an act of aggression on the eye. Pictorial fiction consists in reproducing several levels by effects of transparency, opalescence, translucence, opaqueness, perspective and mass on the same flat surface. Thus, through the play of colours, a transparent blue laid on an opaque red is reconstituted by the brain, having received all this information, as purple. Furthermore, the purple, in this case, will be cold. It will be warm if a transparent red is laid over an opaque blue.

 

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

[ Léonard da Vinci ] [ Raphaël ] [ Botticelli ] [ Menzel-Manet ] [ Matisse ] [ Gauguin - Yatridès ]

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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 (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 "His work" and 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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