1974 – Georges Yatridès has become a safe bet for collectors - Document content


Friday, September 27, 1974

MASTER GEORGES YATRIDES (who does not care about his local fame) HAS BECOME A “SAFE BET” FOR COLLECTORS



Artist Yatridès, comfortably working in his studio, on his wooden desk... even when it comes to typing his own correspondence.


For a painter, to attain History (not to be confused with temporary glory) requires more a depth of mind than the ability to foresee and determine colors, to inscribe on the canvas their connection with forms; in other words, to be able to merge - as he forgets his personal anecdotes - with universal life.

Georges Yatridès – born in Grenoble (where he is a resident of the l’Aigle neighbourhood) on March 5, 1931 – experiences both the bliss of a vast culture and a proven technique; He always exercises self-determination, lightened, as each reflection is a step forward, and his destiny as a creator is one of a precursor, outside of trends and schools, away from post-abstract ventures. He is possibly a lone wolf who decided to remain true to the ancients’ teachings, their alchemy, their virtues, and to call him a “classic” is a congruent compliment according to the lexicon that this restless man has chosen.

Just as Poussin came upon a washerwoman in the Tiber, and decided to paint Moses Rescued from the Water, Yatridès, suddenly facing the mute young girl, growing in his exactness, drew the city as an assumption of the closed space; a new scenography of the Metropolis is revealed. But this cold modern seigneury outlined by Yatridès, sometimes in Gnostic, contradicts Chirico’s world, while going over it.


A high quoted value

We met collectors delighted to own a few Yatridès’. In Grenoble, I saw one of them displayed between Chagall and Carzou, near a Picasso, the emperor of arts. I sincerely believe that Yatridès’ painting shared the same solemnity as a Georges de la Tour, the same mental enlightenment. One should not be surprised, then, that some collectors raised its value, all the more because Georges Yatridès has been a “safe bet” in the United States for a few exhibitions, as at the International Galleries in Chicago.

This year in Nice, for the “Jeux échiquéens”, the value of a small Yatridès graphite drawing reached 4,000 francs [US$ 830] while an oil (in 60 Marine format) found an owner in Paris for 60,000 francs [US$ 12,500]. We will leave any comments to the art dealers.

Yatridès’ work inspired René Char to declare him “the painter outside the tumult” while Mr. Sasha Bourmeyster, an associate professor at Grenoble III University, wrote last February:

“One thing is certain: Yatridès’s work merits study from a linguistic point of view. The exactness of the accomplished work, the clarity of the creation and the continuity in evolution make possible the development of a grammar of his pictorial expression, and further, its semeiological interpretation.”

Within this pictorial direction, similar to the search of “Concept poets” that Thibaudet described as “tangential”, and as Georges Blin (Director of post-graduate studies at the Sorbonne) commented about René Char, there exists in lines an efficiency similar to that of speech.

Christian Gali


Note: Cecilia’s portrait, soon to become the frontispiece on a book cover. (Reproduction kindly authorised by the artist)


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