| Итого | За последние 12 месяцев | Nov | Oct | Sep |
| Всего | 12мес | Nov | Oct | Sep | Aug | Jul | Jun | May | Apr | Mar | Feb | Jan | Dec | 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 | 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 |
По разделу |
87264 | 993 |
59 |
75 |
80 |
87 |
69 |
78 |
99 |
91 |
100 |
86 |
87 |
82 |
0 |
3 |
4 |
2 |
5 |
2 |
2 |
3 |
3 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
3 |
2 |
3 |
3 |
3 |
2 |
4 |
3 |
2 |
2 |
3 |
2 |
2 |
2 |
2 |
2 |
3 |
2 |
3 |
4 |
1 |
3 |
3 |
2 |
2 |
2 |
2 |
2 |
3 |
2 |
2 |
2 |
2 |
3 |
3 |
2 |
2 |
5 |
3 |
2 |
2 |
2 |
4 |
5 |
2 |
4 |
Гражд. Ахматова и Тов. Коллонтай |
5572 | 568 |
35 |
52 |
52 |
50 |
14 |
44 |
58 |
62 |
57 |
49 |
54 |
41 |
0 |
1 |
3 |
1 |
4 |
1 |
1 |
2 |
3 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
1 |
3 |
2 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
3 |
1 |
2 |
3 |
1 |
1 |
2 |
2 |
1 |
3 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
2 |
2 |
5 |
2 |
2 |
Ионас Кон. Общая эстетика. Гос. Изд. Москва 1921. |
3717 | 567 |
38 |
45 |
45 |
48 |
44 |
46 |
57 |
51 |
59 |
62 |
49 |
23 |
0 |
1 |
3 |
1 |
3 |
1 |
2 |
1 |
3 |
1 |
1 |
2 |
3 |
2 |
1 |
1 |
2 |
1 |
2 |
2 |
3 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
3 |
2 |
1 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
3 |
1 |
2 |
Б. Виппер. Проблема и развитие натюморта (Жизнь вещей) |
3955 | 553 |
39 |
51 |
53 |
48 |
46 |
45 |
54 |
52 |
50 |
45 |
49 |
21 |
0 |
2 |
4 |
1 |
4 |
1 |
2 |
1 |
3 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
3 |
2 |
1 |
1 |
2 |
2 |
1 |
3 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
2 |
3 |
1 |
2 |
1 |
1 |
2 |
3 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
2 |
2 |
3 |
1 |
1 |
1 |
3 |
3 |
1 |
4 |
Николай Тарабукин. "От мольберта к машине". (М. 1923.) 44 стр. |
4209 | 544 |
37 |
46 |
48 |
50 |
45 |
45 |
58 |
51 |
53 |
44 |
44 |
23 |
0 |
1 |
3 |
1 |
3 |
1 |
1 |
1 |
3 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
3 |
2 |
3 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
2 |
1 |
1 |
3 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
4 |
3 |
1 |
3 |
Любовь |
3728 | 532 |
36 |
45 |
44 |
48 |
41 |
45 |
53 |
49 |
59 |
46 |
46 |
20 |
0 |
1 |
3 |
1 |
3 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
1 |
2 |
2 |
2 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
4 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
3 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
3 |
3 |
1 |
2 |
Контр-революция формы |
5053 | 515 |
43 |
43 |
43 |
62 |
26 |
37 |
34 |
45 |
52 |
42 |
48 |
40 |
0 |
3 |
3 |
1 |
3 |
1 |
2 |
3 |
2 |
1 |
1 |
1 |
3 |
1 |
2 |
1 |
3 |
1 |
2 |
2 |
2 |
2 |
3 |
2 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
3 |
1 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
0 |
0 |
0 |
2 |
1 |
0 |
2 |
2 |
1 |
3 |
"Русское Искусство", Художественный журнал, N 2-3, М. 1923 г., 118 стр. |
3697 | 505 |
35 |
41 |
42 |
47 |
43 |
45 |
49 |
43 |
47 |
46 |
45 |
22 |
0 |
1 |
2 |
2 |
3 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
2 |
3 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
2 |
Современный художественный рынок и станковая картина |
4098 | 504 |
36 |
41 |
41 |
44 |
43 |
42 |
58 |
44 |
45 |
44 |
43 |
23 |
0 |
1 |
3 |
1 |
3 |
2 |
1 |
1 |
3 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
3 |
Киноплатформа |
3413 | 500 |
36 |
43 |
42 |
43 |
43 |
38 |
53 |
43 |
47 |
43 |
47 |
22 |
0 |
1 |
3 |
1 |
3 |
1 |
1 |
2 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
3 |
2 |
2 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
4 |
1 |
2 |
Почему не умерла станковая картина |
3658 | 480 |
32 |
40 |
39 |
42 |
38 |
41 |
50 |
45 |
47 |
42 |
41 |
23 |
0 |
1 |
3 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
2 |
Страдающие бессилием |
3274 | 477 |
35 |
39 |
41 |
43 |
38 |
40 |
49 |
42 |
47 |
42 |
42 |
19 |
0 |
2 |
3 |
1 |
4 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
3 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
3 |
Речетворчество |
4147 | 463 |
35 |
44 |
47 |
34 |
27 |
28 |
25 |
49 |
48 |
53 |
47 |
26 |
0 |
2 |
3 |
1 |
3 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
2 |
1 |
2 |
2 |
1 |
2 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
3 |
1 |
2 |
Алексей Гастев. "Пачка ордеров", Рига 1921 г. |
4338 | 453 |
42 |
45 |
49 |
49 |
12 |
13 |
19 |
46 |
48 |
44 |
46 |
40 |
0 |
2 |
3 |
1 |
3 |
1 |
2 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
2 |
3 |
2 |
2 |
1 |
4 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
3 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
2 |
2 |
3 |
1 |
3 |
Н. Чужак. "Через головы критиков" |
4239 | 443 |
12 |
13 |
22 |
32 |
14 |
42 |
60 |
55 |
58 |
46 |
52 |
37 |
0 |
0 |
1 |
0 |
1 |
2 |
0 |
2 |
2 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
0 |
0 |
0 |
1 |
1 |
0 |
1 |
1 |
1 |
1 |
0 |
0 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
1 |
1 |
0 |
0 |
1 |
0 |
0 |
0 |
3 |
2 |
0 |
3 |
Уважаемый товарищ редактор! |
3764 | 437 |
14 |
14 |
21 |
34 |
18 |
37 |
59 |
51 |
59 |
48 |
50 |
32 |
0 |
0 |
2 |
0 |
1 |
2 |
0 |
1 |
3 |
0 |
0 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
1 |
1 |
1 |
1 |
0 |
1 |
1 |
0 |
0 |
1 |
1 |
0 |
1 |
0 |
0 |
0 |
1 |
0 |
1 |
1 |
0 |
1 |
0 |
1 |
0 |
0 |
3 |
2 |
0 |
2 |
Б. И. Арватов: биографическая справка |
5515 | 427 |
33 |
40 |
45 |
32 |
14 |
13 |
30 |
50 |
49 |
44 |
45 |
32 |
0 |
2 |
2 |
1 |
5 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
4 |
1 |
2 |
Так полемизировать некультурно |
3768 | 420 |
39 |
48 |
44 |
32 |
12 |
10 |
30 |
45 |
46 |
43 |
45 |
26 |
0 |
2 |
3 |
1 |
4 |
1 |
2 |
1 |
3 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
3 |
2 |
2 |
1 |
2 |
2 |
2 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
3 |
1 |
2 |
3 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
3 |
1 |
1 |
Утопия или наука? |
3877 | 417 |
31 |
50 |
40 |
34 |
14 |
15 |
25 |
44 |
49 |
48 |
46 |
21 |
0 |
1 |
2 |
1 |
3 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
2 |
2 |
2 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
2 |
5 |
1 |
1 |
2 |
1 |
2 |
3 |
1 |
2 |
Маркс о художественной реставрации |
3885 | 400 |
35 |
42 |
46 |
29 |
9 |
15 |
20 |
44 |
49 |
46 |
41 |
24 |
0 |
1 |
3 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
2 |
3 |
3 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
3 |
1 |
2 |