2001: a Space Odyssey

A polemic has long hovered over the paternity of the famous monolith axis of the 2001 film: a space odyssey, argument and key of all critical deciding scenes, from the first scene where the monolith plate transforms, and accelerates the cognitive abilities of prehominian australopithecines, With whom it appears at the dawn of humanity 4 million years ago. One of them touches her, he will become BOWMAN modern man of the twentieth century; Until the last final scene when BOWMAN hero of the film dies, becomes again a fetus borne by the monolith which directs it during its return towards the earth. The monolith and its alliance with the man, is distinguished in the works of YATRIDES from 1951.

Although initially little appreciated or understood 2001: a Space Odyssey is today thought by some critics to be one of the greatest films ever made and is widely regarded as the best science fiction film of all time. It was nominated for four Academy Awards, and received one for visual effects. It also won the Kansas City Film Critics Circle Best Director and Best Film awards of 1968. In 1991, 2001: A Space Odyssey was deemed culturally significant by the United States Library of Congress and selected for preservation in the National Film Registry. Le monolithe et son alliance avec l'homme, se distingue dans l'œuvres de YATRIDES dès 1951. But it can not be forgotten the fact that the monolith, axis and argument of the film, its alliance with the man, is distinguished in the works of YATRIDES, mainly from 1951 to 1963 and after.

On about 1400 works of YATRIDES, in fifteen oils on canvas and graphite drawings, from the year 1951 manifested the Rectangular monolith plate that uses KUBRICK in 2001 Odyssée of the space in 1960-1968. In the paintings of YATRIDES man appears in search of his eternity, which Yatrides realizes by his mastery of time / light. Certainly, they participated in this adventure of YATRIDES 'painting when it abandoned the abstract school in 1951, to arrive, after several graphic epochs, to culminate in the years 1978-2000 to the creation of an abstract world without Referent in the known world, the very definition of the abstract, but in which man can reveal himself, penetrate into the work itself. Even today, YATRIDES is one of the personages who lives in his paintings; He often appears alone. CLARKE either KUBRICK could not copy the intimacy of the monolith, if not the form but not the background, having no conception of the characteristics that YATRIDES gave to its monolithic plate. Even today, the originality of its rectangle designates it as the only standard, the only possible geometrical standard deposited at INPI (French National Institute of Intellectual Property). Its characteristics allow it to reproduce itself infinitely. Its modeling defined by a clear equation without ambiguity make what is called respectfully in mathematics "discovery / elegant equation" ( "elegant : non tortuous in English - no" alambiqué "in French)..

Yatrides' Slab – Electronic realisation

"L'adolescent et l'enfant"
1963, Oils on canvas (100x81 cm)

"The screen of an other reality"
1961, Graphite drawing (34x52cm)

"Makers of the Eternity"
1959/1960, Graphite drawing (101,5x74,5 cm)

"Nude in a life"
1962, Watercolour on canvas
Black and white reproduction (60x92 cm)

"Pain vivant cosmique"
1978, Oils on canvas (81x100 cm)

"Christ Leica et orange"
1963, Oils on canvas (92x73 cm)

"Le théorème"
1960 sanguine (41x31.8cm)
"The Last Page of the Ultimate Manuscript" 2008, Ink (80 x 120,5 cm) from séries1959- 2011 
"Les deux personnages sur la plage" 
1963, Oils on canvas (100X63cm)
"Compilation: objet Eternité", Etude – 1957, Drawing  rough (24x31cm)
 "La mort Maya"
1951, Oils on canvas (50x81cm)

Bowman Embryogenetic resurrection 
Yatrides Electronic realisation