and Great Technique in
Out of the dark equalized backgrounds rise faces and figures repeating, maybe subconsciously, big lessons of the past. An excellent craftsmanship characterizes the Yugoslav painter who displays his painting at the Priori Palace.
At the Griffin and Lion Palace are exhibited the paintings of Djordje Prudnikoff, a Yugoslav painter whose paintings the public like for the striking atmosphere he succeeds in conjuring up in his works. Certainly, nowadays it is uncommon to be able to observe such meticulousness and "rage" towards the object and not to be also tempted to enter some currents of the present and look for an absolutely new wave. On the contrary, Prudnikoff paints as he feels, while at the same time avoiding to make comparisons with the contemporary: for him there is no shaping which repeats a photographic model; one finds no malice and technological meddling. Instead, there is an ever-present craftsmanship, "the hand" that knows exactly how to mix, dose, and condense. Along with the effects of significant optical force, reminding one of significant optical force, reminding one of various currents and models taking place in the near historical periods to us, the true sincerity of the author is not being questioned.
Prudnikoff should be accepted the way he presents himself: he may be more explicit in the defining the face (true geographic maps of life) than in resolving the structure of the whole body. Be as it may, this is a "wisdom" and force of effect, typical of a sole aesthetician and individualist.
LA NATIONE - FLORENCE, November 14,
Prudnikoff's art of painting at the Singidunum Gallery
Thanks to Prudnikoff, this gallery has recorded a true boom: thousands of citizens visited the gallery; such a response on the part of the public was, most likely, also prompted by the advertisement spreading over a full page in the newspaper, in itself a unique event in the publishing practice in the capital.
A graphic artist and a designer by academic training,
a painter by vocation over the last ten years, Prudnikoff is an unusual personality, and,
taking everything into account, a personality that cannot be reduced to the conceptions
and expressive formulae of out times. He does not care about either the nineteenth century
or the experience of modernism;
Therefore, is Prudnikoff a forerunner or only a dishistorical phenomenon. If we are in our views closer to the latter phenomenon than to the painters of our decade, who have been formed under the influence of Olive and Calvesi, are we quite right.
Z. MARKUS POLITIKA, Belgrade, May 12, 1987
art has originated as a reaction to the appearance of photography and it is a creation of
the artist who had removed the man, the figure off canvas. This may be compared to the
situation one finds after earthquake when everything is in ruins. This is the modern art.
The greater monstrosity or chaos on canvas the more exhalted modern critics are. The
figure has disappeared at one point of time from canvas, while later on photography
itself has been established as artistic work...
And following the earthquake the situation is getting stable!