G A U G U I N  

The Archaeological source

Paul Gauguin
Poèmes Barbares 65x48 cm, 1896

YATRIDES told me that "GAUGUIN's Vahines are seduced". They are mortal beings whose flesh is humiliated, for it rots away. It is useless to seek a natural purity in them, a secret of life, of eternal youth. They are bearers of death, they are the death of GAUGUIN himself. Gauguin came to seek truth and justice in the islands, he found only physical and moral destitution, and venereal diseases. His canvases bear witness to the tragedy he experienced there. Gauguin turned away from our world, our civilisation: he turned away from his own self. Whereas Yatridès' beings, outside of time, are unapproachable.

Georges YATRIDES has scores to settle with GAUGUIN and, through him, with the contemporary painters who have abandoned the world instead of confronting it. Let us retain this hypothesis :

In his "quarrel" with GAUGUIN, YATRIDES came to the islands to seduce and possess his vahines. He carried them away, he brought them back to our society in 1955. He installed them in his abstract universe of light, he metamorphosized them. Or rather, they metamorphosized themselves. The face became more refined, the nose lost its wide-spaced nostrils; the expressionless eyes were transformed into a single voluminal sphere that turns freely and appears in the two sockets; the body has lengthened and has become cleansed of its morbid sexuality. An intense inner life emanates from these now inaccessible beings - how is this?


Paul Gauguin
"D'où venons-nous? Que sommes-nous? Où allons-nous?"
141x411cm, 1897

HEGEL used to say that the eyes are the incarnation of spirituality: "This inner principle which shines through, outside any confusion with what is objective and exterior, which is transformed into a concentric point, a source of light".

YATRIDES has deprived GAUGUIN's Vahines of their animal expression, but he has not left them blind. Their open eye-sockets on a rotating sphere allow them to gaze in all directions, a gaze that eludes mortals. All at once he has made his timeless beings inaccessible: one could never prevail over those whose gaze is impossible to catch.

In YATRIDES ' work, there is no more a source of light in the eyes than in the rest of the canvas, and yet spirituality is everywhere present. The light has no need of a source to impose itself freely and to transfigure the temporal.

Young Woman in her Dream , 81x116 cm, 1967
Collection privée 

Nude on Horizon, 81x65 cm, 1978
Collection privée 

The first link refers to  ''main link'' and the second to ''fiscal evaluation''

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" SGDL 04.03.1991 
Sacha Bourmeyster : "Yatridès and his century" , "Yatridès the painter of invisible reality" , "Yatridès anti-Picasso"SGDL24.03.1994, "Interstellars Icons" SGDL 31.03.1994, "Yatridès and the Bible" SGDL 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" (France, specially 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)
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.
Full-length films : Yatrides' work has fascinated film-makers, movie-directors, semiologists, among the best of our time :
Jean Delannoy and Marcel Carné famed french movie Directors, film-Makers. But given the state of his health and his circumstances, Yatridès will be unable to take a decision about their proposals. After 1968, Arthur c. Clarke and Stanley Kubrick 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": "Plates 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