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. ( Telli käsitsi maalitud reproduktsioon
Ülemineku digitaalse pildi müügi kanalisse)
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 differentse vormiga suurus kaotab osa pildist. Enne trükkimist saadame teile kinnitamiseks digitaalse näidisprojektsiooni. Sellel lehel näidatud pilt ei kujuta reaalset lõiget — seda näitab ainult näidisprojekttsioon.
Ülemaailmne tarne () 2 nädala jooksul, tavalise 4/5 nädala asemel. (25 oktoober)
Rabbits
Reproduktsiooni mõõtmed
Teos "Rabbits" on saadaval kujundis käsitsi maalatud õlireproduktsioon linaelapale. Tellimust saab esitada selle Käsitsi maalatud reproduktsioon lehel, kus on võimalik valida erinevad suurused.
Teosele „Rabbits“, autor Ronald Everett English on saadaval Juhend leht: trüvitav infoleht teose kohta, mis on loodud õpilasteks ja klassiruumis kasutamiseks.
Kunstnik Ronald Everett English tuntub ära ka nime all Ron English.
Ron English isn’t simply an artist; he's a provocateur, a commentator, and a master manipulator of imagery. Born in Decatur, Illinois, in 1959, his career trajectory defies easy categorization – straddling the lines between street art, commercial design, pop surrealism, and even a surprising foray into football coaching. His work isn’t about pretty pictures; it's a relentless interrogation of consumer culture, advertising saturation, and the very nature of iconography. From colossal billboard takeovers to meticulously crafted studio paintings, English consistently challenges our perceptions, forcing us to confront the often-uncomfortable truths lurking beneath the glossy veneer of modern life.
English’s early artistic explorations were rooted in a punk rock sensibility – a rejection of the established art world and a desire to disrupt convention. He began creating characters in high school, initially using them as a means of expressing his discontent with societal norms. This rebellious spirit carried over into his street art practice, where he quickly gained notoriety for his unauthorized interventions on public billboards. These weren’t simply graffiti; they were elaborate, often humorous, and frequently subversive reinterpretations of corporate logos and advertising slogans. He coined the term “POPaganda” to describe this approach – a deliberate blending of pop culture references, advertising imagery, and art history, creating a visual language that was both instantly recognizable and deeply critical.
At the heart of English’s work lies a cast of recurring characters—a gallery of meticulously designed figures that have become synonymous with his artistic vision. MC Supersized, a grotesquely obese fast-food mascot, is perhaps his most iconic creation, embodying the excesses and anxieties of American consumerism. Alongside him are temper tots, perpetually enraged children representing the pressures of parenting; camo deer, enigmatic creatures blending woodland imagery with military camouflage; and combrats, anthropomorphic rabbits sporting military uniforms. These aren’t just doodles; they're complex symbols, each imbued with a specific narrative and often serving as vehicles for social commentary.
English doesn’t simply slap these characters onto canvases or billboards; he develops elaborate backstories and visual universes around them. He’s created entire fictional worlds—Delusionville, a sprawling landscape populated by his creations—and has even launched musical projects centered on these characters, most notably “The Rabbbits,” whose songs offer satirical glimpses into the lives of his figures. This layered approach elevates his work beyond mere illustration, transforming it into a fully realized artistic ecosystem.
While street art remains a crucial component of English’s practice, he has steadily expanded his creative horizons over the years. He's collaborated with major brands like Nickelodeon, Burton, and Puma, translating his POPaganda aesthetic into designer toys, apparel, and limited-edition merchandise. These commercial ventures, while sometimes controversial, have provided him with a wider platform to disseminate his ideas and reach a broader audience.
His work has also been exhibited in prestigious galleries around the world, solidifying his position as a significant contemporary artist. He’s explored fine art painting, creating large-scale canvases that showcase his signature style—a vibrant blend of pop surrealism, meticulous detail, and often unsettling humor. Documentaries like “POPaganda: The Art and Crimes of Ron English” and “Living in Delusionville” have offered insightful glimpses into the creative process behind his work, revealing a deeply thoughtful and intellectually rigorous artist.
Ron English’s impact on contemporary art is undeniable. He's not just an artist; he’s a cultural commentator who has redefined the boundaries of street art and challenged our relationship with advertising and consumerism. His work continues to resonate with audiences around the world, sparking conversations about identity, representation, and the pervasive influence of visual culture. His willingness to push boundaries, embrace experimentation, and consistently subvert expectations ensures that Ron English will remain a vital and provocative voice in the art world for years to come.
1959 - , United States of America