Movement of a Memory 81x100 cm, 1981
Particular collection France

Yatridès Detail
Movement of a Memory 1981

The painting of a canvas takes months, years even. Georges YATRIDES never works just on a single canvas but on a series,
which he progresses simultaneously, stage by stage. It all begins with the drawings. In the first instance he makes numerous sketches, these are followed by increasingly precise outlines, transferred to paper and meticulously filed. At this stage we are already dealing with finished works, and not with more or less clumsy sketches. YATRIDES then selects from his drawings those that will contribute to the envisaged development and commits them to canvas.

He then covers the canvases with a light opaque substance; he allows it to harden slightly and then traces the definitive imprint of the drawing into this substance. This is without doubt one of the most delicate stages of his work. The drawing is present underneath the opaque layer. YATRIDES is aware of it, but cannot see it. He must, with a firm and ruthless hand, achieve a perfect line, without hesitation nor looking back and leave within this still soft ground an eternal furrow.

This furrow branches out over the canvas like a river system bearing life and knowledge. It confers a definitive geography to the surface of the painting, to which the painter will have to irrevocably submit himself, of his own free will, for he is always free to alter it. This etching process is unique in painting. Of course, there were the scratchings of a FAUTRIER in the roughcast of a wall, or the streaks made by DUBUFFET in a formless matter, but there it was but a final gesture, a line left through despair or provocation in a crude medium, and not the point of departure, the bare bones of a work in the process of gestation. These engraved paintings can then be put away in a corner of the studio until conditions are suitable for applying the colour. This will depend on the season, the lighting, the hygrometric level and many other natural factors. When Georges Yatridès deems conditions to be right, he shuts himself away in his studio, vanishing from sight for several weeks, and mysteriously restores life to matter which though apparently frozen, is simply "torpid".

The pictorial material produced by YATRIDES is an entirely original creation that has neither model nor reference in the natural world. The figurative drawing and the subject treated must not give rise to confusion: a work by Yatridès is literally an abstract painting covered by areas, demarcated by a strong line and treated independently, in order to explore to the maximum in each one the various possibilities offered by a pictorial technique raised to its apogee.


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