Plantes, Paris and buys an old farm in Rigny-le-Ferron, Aube, where he sets up a ceramic studio. In Paris, he joins the painters Marfaing, Doucet, Gillet, Corneille, Bengt Lindström, Tabuchi, at the Galerie Ariel, where Jean Pollack will show Bitran's work during the next forty years. Bitran also works on graphics: etching and lithography, first at Mourlot, then at Bellini and Leblanc's printing houses. In 1961, for the first time in Scandinavia, Boerge Birch presents a personal exhibition of Bitran in his Copenhagen gallery. Northern countries, that he visits often, are now showing a great interest in his work. In Holland, he exhibits regularly, first at Nova Spectra in The Hague, then, from 1971 on, in Amsterdam at the Gallery Martin de Boer. His major themes in the sixties are Landscapes, The Studio, Inside-Outside, Laterals, and Verticals. In 1968, he moves to rue Notre-Dame-des-Champs, in Montparnasse, where he will work and live until 2000. "Doubles", an analytic interrogation of his painting becomes his major theme in the seventies. The French philosopher, Claude Lefort, writes the essay «Bitran, or the Question of the Eye » published by SMI in 1975 and in 1978 by Gallimard. As a conclusion to this pictural adventure, "Sextuor", a sequence of six paintings in a closed cycle, is exhibited according to a plan designed by architect Ricardo Porro, in museums and galleries in Norway, Denmark, Holland, France, and Austria, In 1979 and 1980, Bitran chairs the seminar of the Salzburg Summer Academy, and Manès Sperber prefaces the catalogue of his exhibition at the Traklhauss. In the early eighties, Bitran sets up a studio in the Lot, where he experiments new techniques on paper and cardboard mixing oil, ink, fusain and pastel... He creates the "Grandes Formes" (Great Forms) that Patrick Bongers chooses for his first exhibition at Galerie Louis Carré, Paris in 1987; these works will also be exhibited at the Boisserée Gallery in Köln, at Art Point in Tokyo, at Louis Stern in Los Angeles …. During Bitran’s retrospective in the Campredon Museum at l’Isle-sur-la-Sorgue in 1991, an interview with art historian, Jean Paris, was filmed and later published in Coloquio Artes, review of the Gulbenkian’s Foundation in Lisbon. Revisiting souvenirs from his childhood and his many travels in Turkey, Bitran’s new theme comes directly from the Mediterranean world. Fascinated by the form of the Arcades, he gives in his painting the « inside-outside »