| Итого | За последние 12 месяцев | Mar | Feb | Jan |
| Всего | 12мес | Mar | Feb | Jan | Dec | Nov | Oct | Sep | Aug | Jul | Jun | May | Apr | 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 | 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 |
По разделу |
90642 | 992 |
78 |
84 |
85 |
81 |
85 |
75 |
80 |
87 |
69 |
78 |
99 |
91 |
0 |
2 |
4 |
2 |
3 |
5 |
2 |
5 |
4 |
3 |
2 |
4 |
3 |
3 |
3 |
4 |
2 |
2 |
3 |
2 |
3 |
3 |
2 |
2 |
3 |
3 |
2 |
2 |
4 |
3 |
2 |
3 |
3 |
4 |
4 |
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 |
Б. Виппер. Проблема и развитие натюморта (Жизнь вещей) |
4158 | 591 |
50 |
48 |
42 |
50 |
52 |
51 |
53 |
48 |
46 |
45 |
54 |
52 |
0 |
1 |
1 |
1 |
3 |
3 |
2 |
4 |
2 |
1 |
2 |
3 |
2 |
1 |
2 |
4 |
1 |
1 |
3 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
2 |
3 |
1 |
1 |
3 |
2 |
3 |
2 |
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 |
Гражд. Ахматова и Тов. Коллонтай |
5781 | 576 |
45 |
52 |
49 |
46 |
52 |
52 |
52 |
50 |
14 |
44 |
58 |
62 |
0 |
2 |
1 |
1 |
2 |
2 |
1 |
5 |
2 |
1 |
2 |
2 |
2 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
3 |
2 |
2 |
3 |
1 |
4 |
1 |
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 |
Николай Тарабукин. "От мольберта к машине". (М. 1923.) 44 стр. |
4398 | 569 |
39 |
41 |
48 |
47 |
51 |
46 |
48 |
50 |
45 |
45 |
58 |
51 |
0 |
2 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
2 |
1 |
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 |
Ионас Кон. Общая эстетика. Гос. Изд. Москва 1921. |
3907 | 564 |
42 |
44 |
46 |
45 |
51 |
45 |
45 |
48 |
44 |
46 |
57 |
51 |
0 |
1 |
1 |
1 |
2 |
5 |
1 |
2 |
2 |
1 |
1 |
2 |
3 |
1 |
3 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
2 |
4 |
1 |
1 |
2 |
1 |
4 |
2 |
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 |
Любовь |
3915 | 548 |
40 |
43 |
44 |
46 |
50 |
45 |
44 |
48 |
41 |
45 |
53 |
49 |
0 |
1 |
4 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
1 |
2 |
1 |
2 |
4 |
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 |
"Русское Искусство", Художественный журнал, N 2-3, М. 1923 г., 118 стр. |
3874 | 522 |
35 |
44 |
42 |
41 |
50 |
41 |
42 |
47 |
43 |
45 |
49 |
43 |
0 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
4 |
1 |
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 |
Современный художественный рынок и станковая картина |
4271 | 522 |
35 |
44 |
37 |
41 |
52 |
41 |
41 |
44 |
43 |
42 |
58 |
44 |
0 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
3 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
4 |
2 |
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 |
Киноплатформа |
3578 | 506 |
33 |
41 |
40 |
39 |
48 |
43 |
42 |
43 |
43 |
38 |
53 |
43 |
0 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
1 |
1 |
3 |
1 |
4 |
1 |
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 |
Почему не умерла станковая картина |
3829 | 498 |
35 |
43 |
40 |
40 |
45 |
40 |
39 |
42 |
38 |
41 |
50 |
45 |
0 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
3 |
2 |
1 |
1 |
1 |
1 |
1 |
4 |
1 |
2 |
2 |
1 |
3 |
2 |
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 |
Страдающие бессилием |
3436 | 489 |
35 |
37 |
39 |
39 |
47 |
39 |
41 |
43 |
38 |
40 |
49 |
42 |
0 |
1 |
1 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
4 |
1 |
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 |
Речетворчество |
4326 | 468 |
39 |
40 |
43 |
44 |
48 |
44 |
47 |
34 |
27 |
28 |
25 |
49 |
0 |
1 |
3 |
1 |
1 |
2 |
1 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
3 |
2 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
3 |
1 |
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 |
Контр-революция формы |
5180 | 460 |
23 |
31 |
16 |
41 |
59 |
43 |
43 |
62 |
26 |
37 |
34 |
45 |
0 |
1 |
0 |
0 |
2 |
1 |
2 |
0 |
1 |
1 |
1 |
2 |
2 |
2 |
2 |
0 |
0 |
0 |
0 |
0 |
2 |
0 |
1 |
0 |
2 |
0 |
0 |
1 |
1 |
0 |
0 |
2 |
0 |
2 |
2 |
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 |
Б. И. Арватов: биографическая справка |
5701 | 443 |
37 |
47 |
45 |
42 |
48 |
40 |
45 |
32 |
14 |
13 |
30 |
50 |
0 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
3 |
1 |
2 |
1 |
1 |
1 |
3 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
2 |
1 |
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 |
Так полемизировать некультурно |
3942 | 434 |
34 |
44 |
43 |
40 |
52 |
48 |
44 |
32 |
12 |
10 |
30 |
45 |
0 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
1 |
3 |
1 |
2 |
2 |
3 |
1 |
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 |
Маркс о художественной реставрации |
4067 | 422 |
43 |
43 |
39 |
45 |
47 |
42 |
46 |
29 |
9 |
15 |
20 |
44 |
0 |
1 |
1 |
2 |
1 |
2 |
1 |
1 |
4 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
2 |
2 |
2 |
3 |
1 |
2 |
1 |
2 |
1 |
1 |
2 |
1 |
3 |
1 |
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 |
Утопия или наука? |
4044 | 420 |
36 |
43 |
35 |
39 |
45 |
50 |
40 |
34 |
14 |
15 |
25 |
44 |
0 |
1 |
2 |
2 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
4 |
2 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
1 |
1 |
1 |
1 |
1 |
1 |
2 |
1 |
2 |
3 |
2 |
2 |
1 |
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 |
За что борется Леф? |
5300 | 413 |
40 |
44 |
41 |
40 |
44 |
41 |
41 |
29 |
11 |
16 |
23 |
43 |
0 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
3 |
2 |
1 |
2 |
3 |
1 |
2 |
2 |
2 |
1 |
1 |
1 |
1 |
2 |
1 |
1 |
2 |
2 |
1 |
1 |
2 |
1 |
1 |
2 |
3 |
1 |
2 |
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 |
Алексей Гастев. "Пачка ордеров", Рига 1921 г. |
4462 | 399 |
23 |
24 |
13 |
47 |
59 |
45 |
49 |
49 |
12 |
13 |
19 |
46 |
0 |
2 |
1 |
2 |
1 |
3 |
1 |
4 |
2 |
1 |
0 |
2 |
1 |
0 |
2 |
0 |
0 |
0 |
0 |
0 |
0 |
1 |
0 |
0 |
0 |
0 |
0 |
0 |
2 |
1 |
0 |
1 |
0 |
4 |
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 |
Уважаемый товарищ редактор! |
3853 | 337 |
24 |
25 |
19 |
15 |
20 |
14 |
21 |
34 |
18 |
37 |
59 |
51 |
0 |
1 |
2 |
2 |
1 |
3 |
1 |
1 |
3 |
0 |
1 |
2 |
0 |
0 |
0 |
1 |
0 |
1 |
1 |
0 |
1 |
1 |
0 |
1 |
0 |
0 |
1 |
0 |
1 |
1 |
2 |
1 |
0 |
4 |
1 |
3 |
1 |
1 |
0 |
1 |
1 |
0 |
1 |
0 |
0 |
1 |
0 |
1 |
1 |
0 |
0 |
1 |
0 |
1 |
2 |
0 |
0 |
1 |
0 |
0 |
2 |
0 |