Œuvres significatives des périodes décrites


Yatridès profits from Emile Bernard's lesson to Gauguin and that of Gauguin to Serusier. But it is a new departure - in contrast with the colour-symbol and the archaeological sources at the origin of all the pictorial experiments leading up to our era.

Sous bois


Influenced by the Fauvists and Soutine. The colours however are divided into constituent patches.


Le salon en rut


Progressive renunciation of the cardinal values of Fauvism, birth of a painting style at times seemingly abstract, but strongly structured and graphic. Enlightened, with regard to his own research, and guided by Jean Leymarie, the then curator of the Grenoble art gallery.

Le printemps des planètes

L'Oiseau de feu


During this same period, human faces appear in the structured graphism.

Mystère des Celtes



Encouraged and confirmed in his evolution by Armand Drouant 
Renunciation of the supremacy of colours. The brush-stroke loses its function as outline. It is the start of a new organization of light.

Le portrait bleu

Bouquet pour une fin d'après-midi,


American Period. Period of fundamental graphics. In contrast with the outline, the brush-stroke now cuts deeply into the paint right down to the surface of the canvas, the physical medium that holds the beginnings of the work. Thus there is total contact between the finished work and its inception. The graphics become paramount. An autonomous light fills the few essential colours. Appearance of the First Slabs in his paintings

Concerto n 3 Prokofief

La femme au mixer

From 1959 and up to 1975

Initiated into various processes, both ancient and modern by Henri Linard, restorer at the Louvre. Yatrides, in (C.E.N.G.) "Grenoble Centre of Nuclear Studies" demonstrates his theory of a new property of time in various fields that of light.

Le programme

Les Deux Personnages sur la plage


Mastery of light and colour space allow these latter to reunite with the unconditional nature of the graphics, a convergence that determines the first large compositions.

Christ, Leica et Orange

L'Adolescent et l'enfant

The 70's

Flowering of an art freed from constraints voluntarily accepted during earlier periods, and masterly synthesis in paintings that raise to an unprecedented level of intensity the problematics experienced by the painter; his perception of the world, of the history of men and of their questionings.

Le pain Biblique

Le Pain Vivant Cosmique

The 80's

Conquest of the invisible reality, Yatridès tackles biblical subjects in order to measure his strength. He makes use of "signs" which, thanks to his powers of perception, take on a new significance.

L'ultime Unité

La Barque pour un citron

XXth Century End until these days

"Jean Paul Sartre had, in his time, criticised positivism which wished to treat man as a being of the world, ignoring the essential fact that man is also a being who imagines the world, and himself, within the world".
"Yatridès is the first painter who takes up this challenge without recourse to the artifices so abused by the surrealists to achieve distancing effects; dream-like states, mirroring devices (mise en abyme), curtains".

Le Combat

Le Mur
"The painter as observer, and observed by himself while observing, he upsets the conventions".
" Each one of his works is a canvas of the universe, a slab that encloses all that the cosmos has engendered since the beginning of time".

"He reveals the third abode of man".

Le Mur



Contact par mail : yatrides@wanadoo.fr

Textes extraits des documents suivants : 
Administration Fiscale : extraits de la "Biographie professionnelle" détaillée, Contrôles 3938 B et 3953, Annexe 49 et suivantes pour servir et valoir ce que de droit.
Arthur Conte : "Yatridès maître du temps" SGDL 04.03.1991 
Sacha Bourmeyster : "Yatridès et son siècle" , "Yatridès le peintre du réel invisible " , "Yatridès l'anti-Picasso"SGDL24.03.1994, "Les Icônes Interstellaires" SGDL 31.03.1994, "Yatridès et la Bible" SGDL 30.10.96
Samuel E. Johnson : Biographic notes (International Galleries USA).
Catalogues monographiques, Yatridès 1954-1993 : Expositions (USA, Latin America, Canada, Great-Britain, Switzerland, Poland, Greece, Paris and Provincial France) et Rétrospectives internationales.
Catalogues monographiques, Yatridès in International Art Festivals : "Great Master guest of Honour" Biennales Internationales Canada-France 1987-1989, "Main Master guest of honour" Biennale Internationale Quebec 1988, "Great Master guest of honour" Biennales Internationales (France-Canada) Vichy, Mozac, Riom, Cités des Ducs 1991-1993, Grand Maître invité d'Honneur.
Manifestations d'Ecoles de Peinture (Schools of Painting international 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" (Event following this organized by the American Embassy in Paris (Musée de l' Orangerie, hiver 1958-1959 : "From Clouet to Matisse" - Drawings in American Private Collections"), "Specialists in XXth Century Masters" (Special mention in "Collector's Choice").
Thèses universitaires : "Le peintre hors du tumulte" ("René Char", Maîtrise des Sciences et Télécommunications, MSTC Université Grenoble III 1981), "Les relations publiques et les techniques de communication au service de la peinture - Yatridès" (C. Lehodey 1983, Ecole des Attachés de presse, Directeur Fondateur Denis Huismans).
Videos, émissions télévisées : "Yatridès, les cimaises du ciel" (Sacré-Coeur Montmartre, Provideo S.A. 1981). "Yatridès le peintre hors du tumulte" ("René Char" Provideo S.A. 1983), "l'Art Yatridès" (Version Originale S.A. 1985), "Allemagne, Pologne et Russie" 1984
"Yatridès le peintre de la future mémoire" (Daniel Daneyrolles, FR3 1979), "Yatridès" (Daniel Bilalian, Journal télévisé 13:00-20:00h, Antenne 2, 12/12/1983), "Allemagne, Pologne, Russie" (Journeaux télévisés 1985). Voir dans "Sa vie" : "Bibliographie".
Films, longs métrages : L'œuvre de Yatridès a enthousiasmé cinéastes, réalisateurs, sémiologues parmi les plus grands de notre temps.
Jean Delannoy et Marcel Carné et leurs propositions de longs métrages avec des artistes de renommée internationale; Yatridès dans sa situation n'avait pu accepter. 
Par la suite en 1968, Arthur C. Clarke et Stanley Kubrick révèleront dans leur long métrage l'amplitude métaphysique des Plaques Monolithes de Yatridès. 
Aucuns droits intellectuels sur le fond et la forme ,arguments de ce long métrage qui a marqué notre époque, ne seront revendiqués par Yatridès. 
Voir sur ce site yatrides.com, dans "Sa vie": "L'entourage". Dans "Son oeuvre" : "Les Plaques de Yatridès" et "les Icônes interstellaires.
Yatridès-Kubrick : Les Plaques interstellaires de Yatridès, fondement et moteur de "2001 : Odyssee de l'espace". 
Voir dans "Son œuvre": "Yatridès-Kubrick".
Miles Millar : De nos jours: "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