Creative periods

1945 Yatridès profits from Emile Bernard's lesson to Gauguin and that of Gauguin to Serusier. But it is a new departure - in contrast with the colour-symbol and the archaeological sources at the origin of all the pictorial experiments leading up to our era.
1946-1948 Influenced by the Fauvists and Soutine. The colours however are divided into constituent patches.
1949-1953 Progressive renunciation of the cardinal values of Fauvism, birth of a painting style at times seemingly abstract, but strongly structured and graphic. Enlightened, with regard to his own research, and guided by Jean Leymarie, the then curator of the Grenoble art gallery.
1951-1953 During this same period, human faces appear in the structured graphism.
1954-1956 Encouraged and confirmed in his evolution by Armand Drouant Renunciation of the supremacy of colours. The brush-stroke loses its function as outline. It is the start of a new organization of light.
1955-1963 American Period. Period of fundamental graphics. In contrast with the outline, the brush-stroke now cuts deeply into the paint right down to the surface of the canvas, the physical medium that holds the beginnings of the work. Thus there is total contact between the finished work and its inception. The graphics become paramount. An autonomous light fills the few essential colours. Appearance of the First Slabs in his paintings
From 1959 and up to 1975 Initiated into various processes, both ancient and modern by Henri Linard, restorer at the Louvre. Yatrides, in (C.E.N.G.) "Grenoble Centre of Nuclear Studies" demonstrates his theory of a new property of time in various fields that of light.
1962-1968 Mastery of light and colour space allow these latter to reunite with the unconditional nature of the graphics, a convergence that determines the first large compositions.
The 70's Flowering of an art freed from constraints voluntarily accepted during earlier periods, and masterly synthesis in paintings that raise to an unprecedented level of intensity the problematics experienced by the painter; his perception of the world, of the history of men and of their questionings.
The 80's Conquest of the invisible reality, Yatridès tackles biblical subjects in order to measure his strength. He makes use of "signs" which, thanks to his powers of perception, take on a new significance.
XXth Century End until these days "Jean Paul Sartre had, in his time, criticised positivism which wished to treat man as a being of the world, ignoring the essential fact that man is also a being who imagines the world, and himself, within the world". "Yatridès is the first painter who takes up this challenge without recourse to the artifices so abused by the surrealists to achieve distancing effects; dream-like states, mirroring devices (mise en abyme), curtains". "The painter as observer, and observed by himself while observing, he upsets the conventions". " Each one of his works is a canvas of the universe, a slab that encloses all that the cosmos has engendered since the beginning of time". "He reveals the third abode of man".