Work as Art - Work as Decor
( Rigour objecting to dismemberment )

Las Meninas, 318x276 cm, 1656 
Musée du Prado - Madrid

Pablo Picasso
Les Ménines, 161x129 cm
Musée Picasso - Barcelone

PICASSO uses various elements from VELASQUEZ's celebrated painting "Las Meninas" (Young Ladies of the Court) in forty-four "studies". This could constitute a fascinating analysis of VELASQUEZ's work and would lend itself well to such an undertaking. Let us refer to the first chapter "Les Suivantes" (The Ladies' Maids) of Michel FOUCALT 's work, "Les mots et les choses" (Words and Things). The author sets great store by examining the relationships established between the individuals inside and outside of the painting : between the Portrait of VELASQUEZ and the painter VELASQUEZ, the couple, Philippe IV and his spouse reflected in the mirror in the background of the painting, and the individuals presented in the foreground, between the spectators and the canvas turned to the wall, etc... The complexity of these relationships allows him to give prominence to the function of classical representation as being pure representation.

M. ALPOTOV, a Soviet critic specifies: "It seems that we are acceding to an ever higher degree of reality, but we never attain the absolute".

The prodigious montage effected by VELASQUEZ fascinates us by its clarity. What has PICASSO drawn from it? A game of variations whereby he enhances "simplistic qualities through simplistic processes"  to quote YATRIDES '  words. He became interested in VELASQUEZ '  work, repudiated it, dismembered it, and then like a child, become weary of taking a toy to pieces, he moves on, leaving trailing behind him a heap of spare parts, devoid of meaning, transformed into decorative elements.

The  fundamental  difference  between  a  YATRIDES  and  a  PICASSO, is that the  first  depicts  clearly  what  he  has  discovered  and  the  second  seeks  to  depict  it,  and  finds  in  this  seeking, this improvisation, this dialogue with a public astonished by his successive "strokes of inspiration" (for example his FORTY-FOUR "Las Meninas VELASQUEZ DISMANTLINGS", groping around a lot without real distinctive results), the very "raison d'être" of his art.

Christ, Leica et orange
92x73 cm, 1963
Collection privée

Le nu à l'astre
72x110 cm,2008
Collection particuliere
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