An uncompromising painter

"To Bruno Roche

I granted you the position of official agreed dealer for my paintings and I've never granted this position to anyone in North America for the last forty (40) years after my contracts with S.E. Johnson, great art dealers of his time who I had to leave for personal and fair considerations. This decision to leave him was mine only.

This position I gave you dramatically distinguishes your job from the one of international financiers who disguise themselves as art merchant and who, after Johnson, did not get the privilege to be agreed by myself despite the intrigues to convince or to constrain me. I've accepted you because I like your young man ethics. But for third parties for whom sometimes Yatrides pieces of art represent an artistic patrimony which means most of the time only financial capital for their descendants your position should be clear-cut.

Money creates unpredictable passionate situations often critical sometimes dangerous, especially if fakes are present in certain patrimonies which is highly probable when considering the actions of those who tried to evict my work. I want you to avoid these risks so that your work will not be disturbed.

Upon our agreement, you are not a responsible agent employed by Georges Yatrides. You are an autonomous and free dealer, authorized for North America by Georges Yatrides, having in your possession documents that you have to show to the world by all possible digital means. That is our agreement. Your job does not consist in defending my work legally speaking, because this is the application of the Property Rights Code that my lawyers would undertake if necessary. The integrity of the genuine original pieces of art in my possession reveals and brings into disrepute the fakes, copies and fake descriptions aiming at abusing modest amateurs. I confirm you the rights authority that I've granted you. Please spread the words to the violators by any means because they are harmful to the genuine Collectors, owners of genuine pieces of arts, and to me because they thwart the proper integrity of my work.

After my break with S.E. Johnson upon my only will, it's been now 40 years that I've been rejecting any gallery owner. It is then impossible for me at 80 years old to be subject to any constraints whatsoever. This is the reason I refused you twice to be my exclusive agent, even if your professional behaviour shows that you would have the ability to be so and not because of a lack of confidence. But your role is still important. The documents that you have in your possession, the seriousness of their content and what I've agreed with you prove it.

Under the Intellectual Property Code I am the owner of the web sites whose credibility is unquestionable because of the value of the documents that make them up. A first traditional Tax Audit by the Tax Office, base of several assessments, adds even more to the official value of the web sites content. On its order several worldwide bureaux of investigation of the French Tax Office enquired and checked accurately financial activities of an individual and his duty toward society. Its mission is not based on media romanticism; its function is not to show any indulgence. An anonymous letter sent to the Tax Office was the ground for all its actions.

This Office has finally positioned my work: extract of the conclusion of the Fiscal Appraisal (V.A.S.F.E.): "Georges Yatridès' work is in the tradition of the greatest masters. In terms of quality, his position is at the top - in those of the message proclaimed, in the vanguard of the pictorial creation of our era", 1981, Conclusion paragraph 4 (La spirale du temps – yatrides.org). The entire document honours my work. The malicious instigators probably expected something else!

Should we quote a real friend, René Char, very great poet:"Yatridès, painter outside the tumult; you have mastered the Time that lies outside common perception", L'Isle sur la Sorgue, July 2nd 1972. René Char was the author of few books dedicated to the artists of the Aimé Maeght "circle" and he loved my work despite my willingness to stay free. He recommended it to several great Collectors despite the opposition of Alain Dominique Perrin (Cartier), his advisor. This advice directly came from the Establishment that Aimé Maeght seemed to ignore.

The list of people who liked me and still like me is big and I can only regret the death of Arthur Conte who wrote my biography when he was still alive: "My dear Georges, as I already did so on June 4th 1985, I definitely confirm that I wrote this text regarding your person only to honour our friendship and your genius. This text, Yatrides Master of Time, belongs to you, I gave it to you without any conditions. May this text simply introduce to the world the tremendous artist you are. Sincerely yours", Arthur Conte, February 1991, 94 avenue de Suffren, Paris, 75015. Arthur Conte was an historian, minister of information, CEO of ORTF (French Televesion Broadcasting Office) under Georges Pompidou and recommended by Charles de Gaulle.

The list of my enemies is big, if not bigger than my friends' despite the continuous actions of interesting detractors. They concealed the reasons for which I had to refuse proposals of feature-length films dedicated to my life and starring great actors. Among them Marcel Carné to direct Anthony Quinn and Fernando Rey (Casado Arambillet is his real name). "He offered Yatrides a feature-length movie with a worldwide visibility telling the life of the painter starring Anthony Quinn and Fernando Rey: a prestigious film with a scenario and speeches designed by Henry-Francois REY. Henry-Francois REY was a multiple Awards author, was the most qualified person to analyze this topic with the best accuracy being very close to the circle of painting and who had a perfect knowledge and a great opinion of YATRIDES." Jacques Quintard, 1986. The demands of the non-French movie producers, their manipulations on the scenario made me refuse proposals of movie directors that I highly appreciated.

True men are rare. It especially reminds me of Jean Delannoy and the friendship between us. "The exceptional quality of your painting made me decide to undertake a movie whose inspiration comes from the singularity of your work and the elements of your life. It will be for me the consecration of my long career [...] Your work has penetrated my soul like a sword of fire and grace", Jean Delannoy, October 24th 1987. "Each new day spent next to you brings me more joy and enthusiasm. My sunset is becoming a new dawn.", Jean Delannoy, November 19th 1987.

Here, I recognize the talent of Stanley Kubrick, trying to forget that he used my work as the pivotal cornerstone of his film "2001: A Space Odyssey". "When they visited art galleries to find new inspirations in big American cities like Chicago where Yatrides' paintings were exhibited at S.E. Johnson International galleries since 1956". I am absolutely sure that it's not Kubrick but Arthur C. Clarke, in charge of the scenario who felt the impact of the monolith. He suggested Kubrick to use them instead of the conventional pyramid used in the original story. He did not manage though to give the monoliths the metaphysical powers they had in my work at that time. I can't image that Kubrick truckled this way, he was not a man who stays behind he would have asked my agreement. I would have given him the full access to the keys for understanding the full power of the metaphysical slabs in my work, paintings of knowledge of an intrinsic reality, pieces of art of the Universe. He used only one of his power, he stretched the time so that this very great slowness of the movie let people think that the slabs had this unique fundamental power to regenerate the human being. But who said that the human being is fundamental in the adventure of the matter he belongs to, that he desperately tries to explain. If he is, why is he fundamental?

I am proud of my work considered by others to have a genuine real value, after several investigations led by French officials on several years in the 70's and the 80's. This has never been done so far and so thoroughly with an artist painter. This was a permanent authentication, approved by myself which led to the creation of the Official Organization "Yatrides and his Century" (original French name: Yatrides et son siècle) composed by high ranked Officials among them a Tax Office Manager and a Financial Auditor. Many painters would have had difficulties to be officially recognized for their work after such investigations, in particular on the prices of their sales by auction, their intrinsic value, their professional life. I don't think about painters that survives the short period offered by the tiny possibilities of a honest merchant, but to the painters supported by « financial professional art dealer » who have a great media coverage and promoted by the establishment; the same establishment confronted to my refusals to stay in the line has tried by all mean included the most sinful ones to evict my work but it failed doing so, the ones acting on its behalf failed doing so as well.

I've never known neither how to despise or to hate my enemies, nor to envy their privileges and their fortune. But having known for a long time that they are actually naked and poor makes me feel recently a compassion which overcomes the sadness and anxiety of dark things. This is a revival in my eightieth year, and ironically maybe at the time of my very last days. »

Georges Yatrides, August 22nd 2011.

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