Aestheticism and Great Technique in Prudnikoff's Portraits

Aestheticism and Great Technique in Prudnikoff's Portraits

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, 1979 The option of a critic on the occasion of an independent exhibition in Perugia, Italy. www.prudnikoff.com

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