world artist
Djordje Prudnikoff

Djure Djakovica 52
Belgrado (Yugoslavia)

tel. 381-11-323-1706

oil on  canvas,  100x80cm cm, 1979 - dipinto a Siena- Italia


Flowers and Aleksa
oil on  canvas,  100x70cm cm, 1988


Moment of relaxation
oil on  canvas,  170x190cm cm, circa 1989


oil on  canvas,  70x85cm cm, 1992




Biography from Djordje Prudnikoff

It was the hand of God that joined a Serbian woman and a
Russian man, who had come to Serbia as boy, with his parents,
after the October Revolution in Russia.
So, on April 19th 1939. in Uzice, they got their son Djordje -
Djordje Prudnikov

In 1946. the family moved to Belgrade. After completing his
grammar school, Djordje was admitted to the Academy of Fine
Arts. Few months later he left it to enroll at the Academy of
Applied Arts where he graduated in the class of Professor
Mihailo Petrov.
During his studies Prudnikoff was rewarded several times for
graphic design.
Graphic (industrial) design was his preoccupation while staying
Wienna, in 1967.

Before leaving for Vienna, after visiting an industrial design
exhibition that inspired him, he started to do industrial design
himself. It was design of completely new shapes of glasses. In
Vienna, he had contacts with Rosenthal, Gralglass and other
companies that belonged to Euro "Group 21". They were not only
full of compliments for the artist but offered him a cooperation.
After 5 months spent in Vienna, he returned to Belgrade for a
summer holiday. Nostalgic feelings overwhelmed him and he
remained at home.

That was most likely the reason why some of his ideas were
used while he was away, and without his approval. One of his
ideas even won the ''Oscar'' for design in 1969. in Germany.

At the International competition for new ideas in furniture design,
in 1968 in Italy, he was granted a reward and 3 months
scholarship by the company called Sormani from Milan for
perfecting himself in furniture design.
During and after his studies he was mostly occupied with
creations in the field of applied arts and took part in projects for
furniture and applied pottery for several well-known Italian
enterprises. His work were selected for the ITALIAN DESIGN
exhibitions in many European metropolises, and that was the
time when Italian design was considered one of the best in the
While staying in Italy, he established a good cooperation with
Gabbianelli (and some others), and achieved his greatest

Prudnikoff met many interesting people in Italy, the most
impressive contact being with Mr.Dino Gavina, one of the
pioneers of industrial design who said that "he had waited for
such an Artist" There were remarkable proposals to work in
Bologna but, unfortunately, the two distinct personalities had
conflicts from the very beginning.

That was unfortunate, of course. As he stayed in Belgrade longer
than he planned, he failed to take his chance to realise his
project ''Habitata'', already accepted at the Milano Trienale in
1975, for a well known enterprise ''Zanotta'' /transparent
armchair, armchair in a shape of the sack /

In 1976. he had left Italy, and only 18 years later learned abut the
reason why Italian authorities had not granted him extended work
permit. There was a bad guy who lived in Milan at the same time,
and possessed a passport in the name of Prudnikoff. That man
loved his painting but had no idea how he affected his life.

Prudnikoff's idea was borrowed in Italy as well, and an ''armchair
- FIELD'' won the 1st prize at an international contest, but it was
not registered under his name .

In Belgrade, Prudnikoff became famous not only as an artist, but
for his whole-page advertisements announced in daily
newspapers. These advertisements symbolized his reactions to
certain occurrences, whether he approved of them or not. At
first, this way of communication with the community represented
his discontent with the contemporary art critique that did not
accept him, and that, apart from few exceptions, did not win his

C O N T E M P O R A R I E S !!!

Prudnikoff took part in numerous collective and independent
exhibitions both in the country and abroad.

Curriculum vitae:


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

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.

Djordje Prudnikoff's art of painting at the
Singidunum Gallery
Unusual Personality

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;
in fact, he owes nothing to anybody, nor does he mimic anybody
in the contemporary environment. As if his art came to a halt in
the seventeenth century, as is his creativity came to end with the
Italian decadence and mannerism. His thematic-expressive
layer, dramatic "tenebroso" and "sfumatto" under the atelier light,
licked-clean structure and outpourings of sentimentality take us
back to the world of Guidrenni, Giovani Batista or Salvador
Rosa. Due to the mentioned, the critics have been circumventing
Prudnikoff, perceiving him a bizarre and quite marginal
phenomenon in the Belgrade art of painting. Also, the
extraordinary high prices of his works could only attract more
attention of the public than that of critics. However, in the
postmodern practice of the 80.s, along with retrograde
tendencies, the canvases of Prudnikoff seem to have imposed a
different interpretation and reading. Is one supposed to see in
these works the anticipation of the art of "anachronism" and
pronounce the author as its champion? Whether we like it or not,
the center of gravity is also moving from the value and nature of
works to the circumstances of a new phenomenon.
It is certain that Prudnikoff's art of painting is an example PAR
EXCELLENCE of creativity outside the "protectiveness" of the
times. However, while accepting this G.C. Argan's definition that
relates to the views of the art of the 80.s, we cannot avoid a
specific paradox: "nonprojectiveness" is still a specific
"projectiveness" just as much as "antiaestetics" is a specific
aesthetics. Anachonic in everything, Prudnikoff is not retrograde
by everything but SUI GENERIS.

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

Z. MARKUS POLITIKA, Belgrade, May 12, 1987




Ultimo aggiornamento: venerdì 16 Aprile 2004
Visitatori dal 15/4/2001 : 44003

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