Sellel lehel kuvatav kunstiteos on kaitstud autoriõigusega, mis tähendab, et meil ei ole seaduslikku õigust luua või müüa identset reproduktsiooni. Seda kaitset rakendatakse rahvusvaheliste kokkulepete alusel, nagu näiteks Berne konventsioon ning riiklike seadustega, sealhulgas nendega, mida on sätestatud USA autoriõiguse seadus – 17. peatükk.
See meetod järgib täielikult autoriõiguse reegleid, kuna see ei põhine kaitstud kunstiteose kopeerimisel või dupliteerimisel. Selle asemel on tegu loova reinterpreetatsiooniga – uue maaldisega, mis on algteosest inspireeritud, kuid ei ole sellest identiline.
Muuseumikvaliteediga giclée- või kangasprint kiire tootmisega ja paindlikud viimistlusvõimalused. ( Osta käsitsi maalatud teos
Lülita digitaalse pildi juurde)
Vali meie eelmääratud suurused, mis vastavad teose algupärastele proportsioonidele.
Sisestage vajalik laius ja kõrgus, et see sobiks teie raamile või seinale. Trükki saab ainult lõigata, seda ei saa kunagi pildist suuremaks teha, seega ka erineva mustega suurus kaotab osa pildist. Enne trükkimist saadame teile kinnitamiseks digitaalse näidisprojektsiooni. Sellel lehel näidatud pilt ei kujuta reaalset lõiget — seda näitab ainult näidisprojektsioon.
Ülemaailmne tarne () 2 nädala jooksul, tavalise 4/5 nädala asemel. (17 november)
Poreč 1
Reproduktsiooni suurus
Born in Vrbas, Serbia, in 1906, Bela Pehan entered a world where art was a family language. His father, Jožef Pehan, was a recognized painter in Vrbas, providing a domestic landscape shaped by color and form. While his early academic pursuits in Vienna leaned toward the study of medicine, the pull of his father’s profession proved stronger. He eventually traded the stethoscope for the brush, enrolling in the Academy in Munich, where he completed his studies in 1930.
His early career was marked by a quiet, persistent presence in the art circles of Vojvodina. Even as a boy, he had been introduced to public exhibition by his father in 1913. By the time he was a student, he was already exhibiting with the "Independent Artists of Vojvodina" in 1928. His technical range was broad, extending beyond the canvas to include applied graphics, caricatures, sketches, and stage designs for the amateur theater in Vrbas.
Pehan’s professional life was split between the studio and the classroom. He was a dedicated educator, serving as a professor at the "Zarko Zrenjanin" gymnasium in Vrbas. This dual existence as both a creator and a teacher allowed him to influence the local artistic landscape for decades. His work was not confined to a single geography; he exhibited his vision in Stuttgart, Germany, as well as throughout Hungary and the various cities of Vojvodina.
His artistic evolution saw distinct phases, particularly after his involvement with the Art Colonies in Bečej in 1955. This period was characterized by a specific focus on variations of the theme of Vrbas. His contributions to the community were recognized through several honors, including:
The studio of Bela Pehan remained a fixture of the city, located at 34 Iva Lolor Ribar Street. It was here that he continued to refine his craft until his death in 1986. He left behind a body of work that reflected the shifting realities of his region, moving from the academic rigor of his Munich training to a more localized, thematic exploration of his home. He remains a significant figure in the history of Serbian academic painting, a man who balanced the discipline of the professor with the restless eye of the observer.
1906 - 1986 , Serbia