(Extracts from Professor Bourmeyster's books
and Semiotic Thesis)

La Dormition, 127,3x92,7x3.2 cm
Musée d'histoire et d'architecture de Novgorod
Dernier quart du XIV siècle

extract from triptych

Jacob's combat against the Angel
(the Wall) 98x130 cm

extract from triptych

Jacob's fight with the Angel
(the Benediction) 85x130 cm

Iconographical metallogrammes
adapted from Yatrides's paintings.
 Composition : steel - bronze -
 copper - zinc - titan - gold

Arcads or tent of God
81x130 cm


Painter of the invisible reality, YATRIDES invests all his artistry and heart into executing a perfect painting, he will eliminate all wrong notes, implausibilities and clumsiness which could prejudice the credibility of his project and disrupt the communication that he intends to establish with his public; a communication founded on innocent and total cohesion. There is neither artifice, nor coquetry, nor subjectivity in this relationship. The viewer fully adheres to the contemplation of the work that he confronts, for he has "nothing to find fault with". Its beauty and formal perfection disarm his susceptibilities and his mistrust. He spontaneously adopts that attitude of innocence which frees him from himself f and his limitations, allowing him to accede to a "BELIEF" and to share it with that of the painter.

There are two conceivable sorts of contract with the public 

On the one hand  :

The art of reality bearer of Revelation. The ICON, just like Renaissance painting, and YATRIDES '  work, is situated on the threshold of a transfinite world, at the point of entry "into invisible reality". Through his technical mastery, the painter pushes back the boundaries of appearance and leads the viewer into the exploration of an otherwise inaccessible space.

Le Sauveur Trônant, 112.5x68.2x2.8 cm
Musée d'histoire et d'architecture de Novgorod
Seconde moitié du XV siècle

St Georges terrassant le Dragon
82.8x64.2x3.2 cm
Galerie Tétiakov - Moscou
Première moitié du XVI siècle

Certainly, it is good to know what obstacles YATRIDES the revelation creator came up against, in order to measure the extent of his undertaking and to rid oneself of preconceived ideas; but the essential is to view his works as poetic images and to extend his creative activity through understanding and interpretation. Thus a living dialogue is established between the painter and his travelling companion -the public, a dialogue around a subject that simultaneously transcends them. 

On the other hand  :

The art of sentiment is bearer of Confession, if not of confiding. It asserts the constant presence of the painter engaged in perfecting the continuing impress of his mark, rather than perfecting a vision. His sentient approach excludes all possibility of revelation. Hyperrealism itself represents an intended demonstration of artificiality, just as derisory as unexpected for a public with a partiality for "reality". This being the case, a knowledge of the painter's life becomes an important prerequisite to fully appreciating a work that is the exemplification of it.
To reach one or the other of these two objectives, there are two possible paths :
The "INNER PATH", the one advocated by BAUDELAIRE and his successors; the exalting of the Self, the sublimation of visions and personal sensations, the revolt against academic norms, the negation of stereotypes, a liberation or rather the "account of this liberation", the poem of one's freedom.  The Confession.

The "OUTER" PATH, or rather the path that, from the "exterior", may appear as asceticism, a negation of the artist's Self, a renouncement of proven forms of expression, a purification that opens the way to Revelation.

YATRIDES, "bearer of revelation", conquers the "Outer path". He is ahead of  Science which quests for it.

Théodore Stratilate terrasse le Dragon
Ecole de Novgorod
XVI siècle

CoEnglsh translation by Penelope Hamilton
yatrides@wanadoo.fr (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 yatrides.com, 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