The first author's exhibition of painting is always remembered due to two reasons: firstly, the contact with the public opinion, and secondly, as a true beginning of an artist biography which is often full of uncertainty. To tell the truth, Zeljko Paunkovic has already taken part at several collective exhibitions(with great success) on which his painting were depicted as being specific as regards their artistic and esthetic program, having a recognizable painting language.
After such experience Zeljko Paunkovic has increasingly been proving to be the follower of classical painting media principles, which also means that he has a specific relation to the dimensions of the very painting language in the sense of idea and structure. This conclusion occupied my mind a year or two ago, during my first encounter with his paintings. It could be noticed then(what he proves today as well) that he is the painter of continuity, following the tradition of poetic-realistic esthetics of the European painting of the 18th and the 19th century. Clearly, it does not mean that he is a post-modernist eclectic and that he repeats the shapes of the well-known styles established through history. His inspiration is natural and fresh, open and lasting, so that, from painting to painting the essential character of his artistic vision can be seen more conspicuously. The language of his painting is made of colors, light and rhythm, harmonious forms and convincing compositions: that is what makes his landscapes so fine and convincing.

Sreto Bosnjak, art critic