| Итого | За последние 12 месяцев | Feb | Jan | Dec |
| Всего | 12мес | Feb | Jan | Dec | Nov | Oct | Sep | Aug | Jul | Jun | May | Apr | Mar | 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 | 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 |
По разделу |
89670 | 991 |
61 |
85 |
81 |
85 |
75 |
80 |
87 |
69 |
78 |
99 |
91 |
100 |
0 |
3 |
4 |
3 |
3 |
4 |
6 |
4 |
3 |
1 |
2 |
2 |
2 |
2 |
3 |
2 |
2 |
3 |
2 |
3 |
4 |
3 |
2 |
2 |
2 |
2 |
3 |
3 |
3 |
2 |
4 |
3 |
2 |
3 |
3 |
5 |
2 |
2 |
2 |
3 |
3 |
3 |
3 |
3 |
2 |
3 |
3 |
3 |
2 |
4 |
3 |
2 |
3 |
2 |
2 |
2 |
2 |
4 |
3 |
2 |
1 |
2 |
Б. Виппер. Проблема и развитие натюморта (Жизнь вещей) |
4093 | 576 |
33 |
42 |
50 |
52 |
51 |
53 |
48 |
46 |
45 |
54 |
52 |
50 |
0 |
1 |
1 |
1 |
3 |
3 |
3 |
3 |
2 |
1 |
2 |
1 |
2 |
0 |
0 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
0 |
3 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
3 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
Николай Тарабукин. "От мольберта к машине". (М. 1923.) 44 стр. |
4349 | 573 |
31 |
48 |
47 |
51 |
46 |
48 |
50 |
45 |
45 |
58 |
51 |
53 |
0 |
1 |
0 |
1 |
3 |
3 |
5 |
2 |
3 |
0 |
1 |
1 |
1 |
0 |
0 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
3 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
3 |
1 |
1 |
3 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
1 |
1 |
Гражд. Ахматова и Тов. Коллонтай |
5720 | 572 |
36 |
49 |
46 |
52 |
52 |
52 |
50 |
14 |
44 |
58 |
62 |
57 |
0 |
1 |
1 |
1 |
3 |
3 |
5 |
2 |
2 |
0 |
1 |
2 |
1 |
0 |
1 |
2 |
1 |
3 |
1 |
2 |
3 |
1 |
1 |
2 |
1 |
0 |
3 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
2 |
3 |
1 |
1 |
1 |
4 |
1 |
2 |
3 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
1 |
2 |
Ионас Кон. Общая эстетика. Гос. Изд. Москва 1921. |
3850 | 566 |
29 |
46 |
45 |
51 |
45 |
45 |
48 |
44 |
46 |
57 |
51 |
59 |
0 |
1 |
0 |
1 |
3 |
2 |
4 |
3 |
1 |
0 |
1 |
1 |
1 |
2 |
0 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
1 |
1 |
2 |
1 |
3 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
3 |
1 |
3 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
Любовь |
3861 | 553 |
29 |
44 |
46 |
50 |
45 |
44 |
48 |
41 |
45 |
53 |
49 |
59 |
0 |
1 |
0 |
1 |
2 |
2 |
6 |
2 |
1 |
0 |
1 |
1 |
1 |
0 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
3 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
"Русское Искусство", Художественный журнал, N 2-3, М. 1923 г., 118 стр. |
3827 | 522 |
32 |
42 |
41 |
50 |
41 |
42 |
47 |
43 |
45 |
49 |
43 |
47 |
0 |
2 |
0 |
1 |
3 |
2 |
3 |
4 |
1 |
0 |
1 |
2 |
2 |
1 |
0 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
Современный художественный рынок и станковая картина |
4222 | 518 |
30 |
37 |
41 |
52 |
41 |
41 |
44 |
43 |
42 |
58 |
44 |
45 |
0 |
2 |
1 |
1 |
3 |
2 |
5 |
1 |
2 |
0 |
1 |
1 |
1 |
0 |
0 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
Киноплатформа |
3531 | 506 |
27 |
40 |
39 |
48 |
43 |
42 |
43 |
43 |
38 |
53 |
43 |
47 |
0 |
1 |
1 |
1 |
3 |
2 |
5 |
2 |
2 |
0 |
1 |
1 |
1 |
0 |
0 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
Почему не умерла станковая картина |
3779 | 495 |
28 |
40 |
40 |
45 |
40 |
39 |
42 |
38 |
41 |
50 |
45 |
47 |
0 |
1 |
0 |
1 |
3 |
2 |
4 |
2 |
2 |
0 |
1 |
2 |
1 |
0 |
0 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
4 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
Страдающие бессилием |
3389 | 489 |
25 |
39 |
39 |
47 |
39 |
41 |
43 |
38 |
40 |
49 |
42 |
47 |
0 |
1 |
0 |
1 |
3 |
3 |
3 |
3 |
1 |
0 |
1 |
1 |
1 |
0 |
0 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
Контр-революция формы |
5150 | 482 |
24 |
16 |
41 |
59 |
43 |
43 |
62 |
26 |
37 |
34 |
45 |
52 |
0 |
1 |
4 |
1 |
0 |
3 |
1 |
1 |
0 |
1 |
1 |
0 |
1 |
0 |
3 |
1 |
1 |
1 |
0 |
0 |
2 |
2 |
1 |
1 |
0 |
1 |
2 |
0 |
1 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
1 |
1 |
2 |
1 |
0 |
0 |
0 |
1 |
0 |
0 |
1 |
1 |
0 |
0 |
1 |
0 |
0 |
2 |
1 |
1 |
Речетворчество |
4276 | 466 |
29 |
43 |
44 |
48 |
44 |
47 |
34 |
27 |
28 |
25 |
49 |
48 |
0 |
2 |
0 |
1 |
3 |
2 |
4 |
2 |
2 |
0 |
1 |
1 |
1 |
0 |
0 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
0 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
5 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
Б. И. Арватов: биографическая справка |
5653 | 444 |
36 |
45 |
42 |
48 |
40 |
45 |
32 |
14 |
13 |
30 |
50 |
49 |
0 |
2 |
0 |
1 |
3 |
3 |
5 |
1 |
3 |
0 |
1 |
2 |
1 |
0 |
0 |
2 |
2 |
3 |
1 |
1 |
4 |
1 |
2 |
1 |
1 |
0 |
2 |
1 |
1 |
1 |
1 |
3 |
1 |
2 |
2 |
2 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
Так полемизировать некультурно |
3895 | 433 |
31 |
43 |
40 |
52 |
48 |
44 |
32 |
12 |
10 |
30 |
45 |
46 |
0 |
1 |
0 |
3 |
3 |
3 |
3 |
3 |
2 |
0 |
1 |
1 |
1 |
0 |
0 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
3 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
Утопия или наука? |
3995 | 420 |
30 |
35 |
39 |
45 |
50 |
40 |
34 |
14 |
15 |
25 |
44 |
49 |
0 |
1 |
0 |
1 |
3 |
2 |
4 |
3 |
3 |
0 |
1 |
1 |
1 |
1 |
0 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
0 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
Маркс о художественной реставрации |
4013 | 417 |
32 |
39 |
45 |
47 |
42 |
46 |
29 |
9 |
15 |
20 |
44 |
49 |
0 |
2 |
0 |
2 |
3 |
2 |
4 |
3 |
1 |
0 |
1 |
1 |
1 |
1 |
0 |
1 |
1 |
2 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
Алексей Гастев. "Пачка ордеров", Рига 1921 г. |
4431 | 416 |
16 |
13 |
47 |
59 |
45 |
49 |
49 |
12 |
13 |
19 |
46 |
48 |
0 |
1 |
0 |
1 |
1 |
1 |
2 |
0 |
2 |
1 |
0 |
0 |
0 |
1 |
0 |
2 |
0 |
1 |
2 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
1 |
0 |
3 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
2 |
0 |
0 |
1 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
2 |
4 |
2 |
1 |
1 |
1 |
За что борется Леф? |
5248 | 408 |
32 |
41 |
40 |
44 |
41 |
41 |
29 |
11 |
16 |
23 |
43 |
47 |
0 |
2 |
0 |
1 |
3 |
4 |
3 |
3 |
2 |
0 |
1 |
1 |
1 |
0 |
0 |
1 |
1 |
3 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
Н. Чужак. "Через головы критиков" |
4295 | 364 |
17 |
19 |
13 |
19 |
13 |
22 |
32 |
14 |
42 |
60 |
55 |
58 |
0 |
3 |
1 |
1 |
0 |
1 |
1 |
1 |
2 |
0 |
0 |
1 |
0 |
0 |
1 |
0 |
0 |
1 |
0 |
1 |
3 |
0 |
0 |
1 |
1 |
0 |
2 |
0 |
1 |
0 |
1 |
0 |
0 |
2 |
0 |
0 |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
1 |
0 |
1 |
3 |
0 |
0 |
1 |
0 |
0 |
1 |
0 |
0 |
1 |
0 |
0 |
1 |
1 |
0 |
0 |