| Итого | За последние 12 месяцев | May | Apr | Mar |
| Всего | 12мес | May | Apr | Mar | Feb | Jan | Dec | Nov | Oct | Sep | Aug | Jul | Jun | 19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 09 | 08 | 07 | 06 | 05 | 04 | 03 | 02 | 01 | 30 | 29 | 28 | 27 | 26 | 25 | 24 | 23 | 22 | 21 | 20 | 19 | 18 | 17 | 16 | 15 | 14 | 13 | 12 | 11 | 10 | 09 | 08 | 07 | 06 | 05 | 04 | 03 | 02 | 01 | 31 | 30 | 29 | 28 | 27 | 26 | 25 | 24 | 23 | 22 | 21 | 20 | 19 |
По разделу |
82333 | 876 |
49 |
91 |
100 |
86 |
87 |
82 |
61 |
66 |
60 |
61 |
60 |
73 |
1 |
4 |
3 |
5 |
3 |
2 |
2 |
2 |
3 |
4 |
2 |
3 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
3 |
2 |
4 |
4 |
4 |
4 |
5 |
3 |
3 |
3 |
4 |
2 |
4 |
3 |
2 |
3 |
2 |
3 |
3 |
3 |
3 |
2 |
3 |
3 |
4 |
3 |
3 |
2 |
2 |
2 |
3 |
3 |
5 |
6 |
2 |
3 |
3 |
2 |
2 |
4 |
3 |
4 |
4 |
Гражд. Ахматова и Тов. Коллонтай |
5299 | 523 |
32 |
62 |
57 |
49 |
54 |
41 |
24 |
29 |
40 |
46 |
38 |
51 |
0 |
2 |
2 |
1 |
2 |
2 |
2 |
1 |
3 |
3 |
2 |
3 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
3 |
3 |
1 |
2 |
4 |
1 |
1 |
2 |
3 |
1 |
4 |
3 |
2 |
1 |
2 |
3 |
2 |
3 |
2 |
1 |
2 |
1 |
4 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
3 |
3 |
1 |
2 |
2 |
2 |
1 |
2 |
2 |
2 |
2 |
Н. Чужак. "Через головы критиков" |
4078 | 506 |
34 |
55 |
58 |
46 |
52 |
37 |
19 |
31 |
37 |
42 |
38 |
57 |
0 |
2 |
3 |
2 |
3 |
1 |
1 |
1 |
2 |
4 |
1 |
2 |
2 |
2 |
1 |
3 |
1 |
2 |
1 |
2 |
2 |
3 |
2 |
4 |
2 |
1 |
3 |
1 |
1 |
3 |
2 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
1 |
3 |
2 |
3 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
4 |
3 |
1 |
3 |
1 |
1 |
1 |
3 |
1 |
4 |
4 |
Уважаемый товарищ редактор! |
3602 | 480 |
35 |
51 |
59 |
48 |
50 |
32 |
18 |
25 |
39 |
40 |
40 |
43 |
0 |
3 |
3 |
2 |
2 |
2 |
2 |
2 |
2 |
3 |
1 |
3 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
4 |
3 |
2 |
4 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
2 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
5 |
6 |
1 |
2 |
3 |
1 |
1 |
3 |
1 |
2 |
3 |
Контр-революция формы |
4780 | 366 |
15 |
45 |
52 |
42 |
48 |
40 |
22 |
32 |
14 |
25 |
15 |
16 |
0 |
1 |
3 |
1 |
1 |
0 |
2 |
1 |
0 |
3 |
0 |
2 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
2 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
3 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
6 |
1 |
2 |
2 |
1 |
2 |
3 |
1 |
3 |
2 |
Ионас Кон. Общая эстетика. Гос. Изд. Москва 1921. |
3425 | 358 |
31 |
51 |
59 |
62 |
49 |
23 |
19 |
22 |
9 |
12 |
12 |
9 |
0 |
2 |
2 |
3 |
1 |
1 |
1 |
2 |
2 |
4 |
1 |
3 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
3 |
2 |
2 |
4 |
2 |
2 |
3 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
3 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
2 |
3 |
4 |
1 |
1 |
3 |
1 |
1 |
3 |
1 |
3 |
2 |
Б. И. Арватов: биографическая справка |
5322 | 355 |
14 |
50 |
49 |
44 |
45 |
32 |
23 |
18 |
27 |
25 |
12 |
16 |
0 |
1 |
3 |
2 |
1 |
0 |
0 |
0 |
0 |
3 |
1 |
1 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
4 |
4 |
3 |
2 |
5 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
5 |
1 |
2 |
2 |
1 |
1 |
2 |
3 |
2 |
2 |
К. Чуковский. Футуристы (П. 1922 г.) |
4092 | 349 |
25 |
47 |
53 |
45 |
47 |
38 |
20 |
19 |
12 |
17 |
14 |
12 |
0 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
4 |
1 |
3 |
2 |
1 |
2 |
2 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
5 |
5 |
1 |
1 |
2 |
2 |
1 |
2 |
2 |
2 |
2 |
Николай Тарабукин. "От мольберта к машине". (М. 1923.) 44 стр. |
3909 | 337 |
29 |
51 |
53 |
44 |
44 |
23 |
24 |
18 |
15 |
17 |
9 |
10 |
0 |
3 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
4 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
3 |
2 |
3 |
1 |
1 |
1 |
4 |
2 |
2 |
2 |
1 |
1 |
1 |
3 |
2 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
4 |
3 |
1 |
3 |
2 |
1 |
1 |
4 |
3 |
2 |
2 |
Любовь |
3445 | 332 |
29 |
49 |
59 |
46 |
46 |
20 |
21 |
14 |
9 |
19 |
9 |
11 |
0 |
3 |
2 |
3 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
3 |
3 |
3 |
2 |
4 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
3 |
3 |
3 |
3 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
2 |
2 |
Алексей Гастев. "Пачка ордеров", Рига 1921 г. |
4120 | 323 |
11 |
46 |
48 |
44 |
46 |
40 |
15 |
23 |
13 |
10 |
10 |
17 |
0 |
2 |
2 |
1 |
0 |
0 |
0 |
0 |
0 |
3 |
0 |
1 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
1 |
2 |
3 |
3 |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
2 |
1 |
2 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
2 |
4 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
Б. Виппер. Проблема и развитие натюморта (Жизнь вещей) |
3647 | 323 |
28 |
52 |
50 |
45 |
49 |
21 |
18 |
19 |
9 |
8 |
9 |
15 |
0 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
3 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
3 |
2 |
2 |
2 |
1 |
2 |
3 |
1 |
3 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
3 |
2 |
2 |
1 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
4 |
1 |
1 |
2 |
1 |
1 |
4 |
1 |
2 |
2 |
Речетворчество |
3917 | 322 |
10 |
49 |
48 |
53 |
47 |
26 |
21 |
22 |
19 |
10 |
10 |
7 |
0 |
0 |
1 |
2 |
0 |
0 |
0 |
1 |
1 |
2 |
1 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
3 |
1 |
3 |
3 |
2 |
1 |
1 |
1 |
1 |
4 |
2 |
1 |
2 |
1 |
1 |
3 |
2 |
2 |
1 |
1 |
1 |
2 |
2 |
3 |
1 |
1 |
1 |
3 |
1 |
2 |
5 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
2 |
2 |
Утопия или наука? |
3681 | 317 |
13 |
44 |
49 |
48 |
46 |
21 |
21 |
23 |
10 |
17 |
14 |
11 |
0 |
1 |
2 |
1 |
0 |
1 |
1 |
0 |
1 |
2 |
0 |
1 |
0 |
0 |
0 |
0 |
1 |
0 |
2 |
2 |
0 |
2 |
2 |
3 |
3 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
3 |
1 |
2 |
2 |
2 |
2 |
3 |
1 |
3 |
2 |
"Русское Искусство", Художественный журнал, N 2-3, М. 1923 г., 118 стр. |
3422 | 312 |
27 |
43 |
47 |
46 |
45 |
22 |
18 |
18 |
9 |
12 |
16 |
9 |
0 |
4 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
3 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
2 |
4 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
4 |
4 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
2 |
2 |
Киноплатформа |
3144 | 307 |
29 |
43 |
47 |
43 |
47 |
22 |
16 |
17 |
10 |
13 |
8 |
12 |
1 |
1 |
2 |
5 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
3 |
2 |
3 |
1 |
3 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
4 |
5 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
Маркс о художественной реставрации |
3701 | 306 |
12 |
44 |
49 |
46 |
41 |
24 |
20 |
19 |
10 |
17 |
12 |
12 |
0 |
1 |
0 |
2 |
0 |
0 |
1 |
2 |
0 |
4 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
2 |
3 |
2 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
2 |
3 |
2 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
5 |
1 |
2 |
3 |
1 |
1 |
2 |
2 |
2 |
2 |
Современный художественный рынок и станковая картина |
3826 | 305 |
33 |
44 |
45 |
44 |
43 |
23 |
22 |
14 |
9 |
11 |
11 |
6 |
0 |
2 |
2 |
2 |
3 |
1 |
2 |
1 |
3 |
4 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
3 |
2 |
2 |
3 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
4 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
2 |
Почему не умерла станковая картина |
3402 | 300 |
26 |
45 |
47 |
42 |
41 |
23 |
17 |
16 |
10 |
12 |
9 |
12 |
0 |
1 |
2 |
3 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
3 |
3 |
3 |
3 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
5 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
2 |
Страдающие бессилием |
3016 | 294 |
27 |
42 |
47 |
42 |
42 |
19 |
18 |
16 |
10 |
11 |
11 |
9 |
0 |
1 |
2 |
3 |
2 |
1 |
2 |
1 |
1 |
3 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
3 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
4 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
2 |
3 |