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
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
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 confidence.
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.
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
Djordje Prudnikoff's art of painting
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
Adhikara Art Gallery