The Demolishing

Pablo Picasso
Guernica 7.80x3.50 m, 1937
Musée du Prado - Madrid

By the age of 16 he has absorbed the basic techniques of traditional painting. At 19, he produces admirable pastiches of the works of the leading lights of Montmartre. After the scandal provoked by the Demoiselles d'Avignon (The Young Ladies of Avignon), he imperturbably alternates his oddly-shaped women with beautiful haughty creatures, an arrangement of triangles with a sprinkling of pointillism dubbed La jeune fille devant la cheminée (Young Girl in front of the chimney), and a wonderful Spanish beauty, also given a touch of pointillism La Salchichona (The Salami Seller).

After years of sentimental aesthetics, after his blue and rose periods, he suddenly abandons his pensive fairground entertainers, his melancholy nudes and his dreamy harlequins to play a truly dirty trick on Art, on an art that has remained within bounds despite all the previous daring innovations, a dirty trick from which he has not yet recovered. It is, of course, Les Demoiselles d'Avignon.

There was one taboo that no painter either wished to nor could infringe: that of the female body. Female nudity has always been an object of worship, or rather that of a tacit convention between the painter who reveals and the aesthete who regards. Does there exist an aesthetic object of contemplation more rich in signification and connotation than a woman's body?

PICASSO  dehumanizes,  YATRIDES  transfigures :


- Lives amidst scandal and provocation
- Does not wish to prostitute himself (seek the easy path)
- Considers that the painter is greater than the painting
- Discredits traditional techniques to dispel the public's illusions
- Rejects all theorizing
- Scorns those who must research
- Dissects and appropriates other painters' work
- Claims that art is a lie which enables one to arrive at the truth
- Kills desire through nightmare
- Amuses, excites, but disappoints through the incompleteness of his work.

Pablo Picasso
Les Demoiselles d'Avignon
Museum of Modern Art - New York

La synthèse 


- Lives outside the tumult (René Char: "Yatridès, painter outside the tumult").
- Does not wish to prostitute his work
- Considers that the painter is less than his work
- Renounces unfamiliar techniques to develop those of his own
- Is a theoretician
- Respects the research required to attain perfection
- Respects the work of his precursors, but wishes to raise it to a higher point
- Proposes art as being a fiction wherein truth is realized Transfigures desire.
- Disturbs through his perfection, but fulfils those who are won over.

Georges Yatridès
"Voici je fais toute chose nouvelle" Ap. 21:5 
116x81cm, 1978
Collection privée France

Yatridès demonstrates that "highlighting", and thus and obligation
that of the non common time in which all creation inscribed,
requires knowledge: what is clear is not simple.


Triptique YATRIDES 1982

Yatridés 1982
La Bataille de Jacob avec l'Ange
(Le combat)

80x130 cm

Yatridés 1982
La Bataille de Jacob avec l'Ange
(Le mur)

89x116 cm

Yatridés 1982
La Bataille de Jacob avec l'Ange

97x146 cm

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