Georgy Bogdanovich Yakulov - Knowledge (XXG)

1430:"For Girofle-Girofle, he found forms that were the most durable of anything he had done before. Yakulov's technique went over all the scenes. It was continued by the theater itself in a number of subsequent performances, when the Stenberg brothers came to replace Yakulov, and it was widely used by other theaters in the works of young decorators who seized on the opportunities that Yakulov's solution gave them. Its essence was in the transformation of the scenery. However, what was on the stage could not be called scenery. These were "constructions" - colorful constructions of a theatrical nature. <...> They worked with an actor and for an actor. Before our very eyes, they served what was needed during the game. They pushed out some parts, took out others, rolled out platforms, lowered stairs, opened hatches, built passages, were always at hand or under foot along with a balustrade, step, barbell, device, which could be touched to find a fulcrum for a moment". 1544:"Outside, in the sense of the external form, that is, the correspondence of music with ballet movements, managed to find what I consider the only acceptable in the new, and not in the classical ballet, and what was not understood by Tairov in the production "Girofle", namely, the parallelism of themes - musical and ballet, and not fusion. I'm talking about a lack of simultaneity or, rather, the simultaneity of themes, and the accompaniment of music is only rhythmic, not tempo. This is the true nature of dance for with the same musical theme ("Along the street paving" or "Lezginka") we see completely different performances of dance and movement. Therefore, the music should give the whole theme at once (as well as decoration), and the dance and the different characters of the movement will give the development of this theme and its variations. For the method of consonance in the bars of movement with music is 433:, Yakulov is again in the army, in the fall of 1914, he was seriously wounded in the chest: the bullet touched the lung (which in subsequent years contributed to the emergence of tuberculosis). After recovering from his injury, the artist spent a vacation in Moscow, created a number of sketches and drawings, with whom he participated in early 1915 at the exhibitions of the "Union of Russian Artists" and "World of Art". In March 1915 he returned to the front, on his subsequent vacations, in the spring of 1916 and 1917, he took part in the exhibitions of the "World of Art" in Petrograd. In June 1917, by the decision of the Provisional Government, as part of a group of artists, Staff Captain Georgy Yakulov was finally withdrawn from the active army. 1874: 1094:, he urgently returns home. Thanks to the help of friends and the artist's merits, the repressions against his wife were limited by the prohibition of living in Moscow. Yakulov with great difficulty managed to settle her in Kislovodsk, but these events dramatically changed his life. He was "heartbroken by family grief", recalled his teacher N. Denisovsky, "Yakulov was stabbed in the back from a loved one, the blow from which he never recovered" - wrote S. Aladzhalov, who helped Georgy Bogdanovich in his last work, - over the scenery and costumes for the play "Beauty from the island of Lulu" in December 1927 (based on the novel by S. Zayitsky, staged by 1532:, Yakulov makes a fundamental conclusion about the dependence of theatrical production on the specifics of the psychology of modern audience perception: "Every theater is looking for its own design, because the modern viewer, surrounded by modern everyday objects, to a certain extent accustomed, both in the sense of auditory and sound and in the sense of technology, to see things this way and not otherwise. <...> When you see this terrible speed of visual in a modern European city, experiences of impressions, then it will become quite obvious to you that the measured Greek tragedy, calculated for the whole day, is not suitable for us". 403: 1374:

himself really not in easel painting". Attempts by researchers to identify the distinctive features of the artist's painting style using such a small amount of material give conflicting results: according to some authors, Yakulov "remained alien to both Cubism and Futurism", others have challenged this view by analyzing such works of the late 1910s, as "Tverskaya", still others believed that "it came rather from the Italian classics... His paintings "Fight of the Amazons", "There lived a poor knight", "Fight", "Lombardy", "Tverskaya" - were entirely inspired by his trip to Venice, Padua, Florence, Rome".

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square lattice of glass, the importunity of which could not be changed by any forces other than to weave them into the overall composition. To do this, it was necessary to introduce this principle of lattice and planks into the decoration. Architecture of this order was well known from the chinese models, and i have resorted to this form. In view of the impossibility of ordering fittings and seeing the vulgarity of the existing one, I decided to make it out of abstract forms and build it on rotating parts. <...> Thus, the form was born, which later received the name "constructive".

31: 629: 970:. Prior to that, in October 1922, five of his paintings were presented at the 1st Russian exhibition at the Van Diemen & Co gallery in Berlin, and in March 1923, while on tour of the Chamber Theater in Paris, he exhibited at the local gallery "Guillaume". Yakulov was a member of the selection committee of the Soviet section at the preparatory stage for the World Exhibition, and during her work he was elected vice-president and member of the jury for the Theater section, as well as a jury member for the Architecture Section (these international sections were housed in the 475: 1378:

refraction, scattering, endless reflections in showcases, shiny surfaces... The artist introduces into his compositions a variety of screens, curtains, curtains, screens that transmit and attenuate the light flux in different ways. No less often in Yakulov's painting there are systems of mirrors, thanks to them, light plots acquire a special drama, subjugating spatial forms, involving the hero in a complex spatial intrigue: "Before the Mirror" (State Picture Gallery of Armenia, 1920), "Portrait of Alisa Koonen" (Private collection, Moscow, 1920) and others".

1394:. These motives were developed by the artist in numerous versions of "Cafe", "Horse Racing", "Streets" and in individual works: "Tverskaya", "Circus", "Monte Carlo" and so on. The ironic perception of reality was mixed in these works of Yakulov with his stormy and fabulous fantasy, but sometimes it turned into a dark expression - both in the years of late modernity and in new, "constructivist" times, and took out of the modern Soviet artistic context such works of Yakulov, as the phantasmagoric painting "The Man of the Crowd" (1922; first version - 1907). 1588: 2116: 1725: 2130: 1510:

At the end of a lecture given in 1926 to the troupe of the newly created Belarusian Jewish Theater Yakulov, answering the question, he makes a quick note: "We confuse kinetics with dynamics", left at that moment without explanation. In the work "Theater and Painting" written shortly before his death (published in 2010 in the book by V. Badalyan) Yakulov explains in detail the connection of these conceptual concepts in his theoretical system of concepts, comprehended by him independently of the then not yet arisen

2088: 2014: 2158: 2042: 1476:" - did not allow fragmentation of forms, the color conciseness of the scenery provided all the colorful power of the lighting. With even greater monumentality, Yakulov planned the pictorial solution of the opera "Rienzi", the scene of which, in an unrealized production by Meyerhold, was supposed to turn into an arena with an amphitheater. But the second version of the scenery, realized in Zimin's Free Opera, was sustained by the artist in strict forms and retained the heroic pathos of the original plan. 1787: 1312: 515: 2056: 1955: 1759: 2028: 1773: 989: 1986: 2144: 2000: 1972: 874:"He was bohemian in a good way, I would say - Parisian. Bohemian in the way of life, in the nature of the soul, mind and attitude to people and art. He was not a schema artist and ascetic - he was a talented and successful professional. Always sharp, mobilized for arguments about art, for inventions, feasting and kindness. A sociable person, cheerful, cynic, charmer. He knew how to arrange his money affairs not in a huckster and without humiliation, and always, always - an artist!" 1742: 1860: 1829: 344: 1801: 1178: 1934: 1902: 1403: 1888: 1846: 1382: 1572: 1522:. Dynamics - winding the clock spring, kinetics - exponential movement of the hands on the dial. Dynamics exists "in spite of reason, in spite of the elements". Kinetics, on the contrary, subordinates everything to reason. and must take into account the elements. <...> In the new eccentric theater, the actor has to control the set just like a pilot an airplane. The sets and costumes must be kinetic and only one actor is dynamic". 1916: 265: 803: 230: 1815: 1580: 1453: 1366: 1111: 713: 686: 931: 1036: 893: 177: 391:

appropriation of ideas from his own theory, which a week later, on December 30, he stated in his report: "Natural light (archaic solar), artificial light (modern electric)". On January 1, 1914, together with the "Budelians" A. Lurie and B. Livshits, he wrote the manifesto "We and the West", released shortly in three languages (Russian, French and Italian) and then reprinted by

655:. The walls of the cafe were painted according to Yakulov's sketches and under each painting were poets of poets; "Pegasus' stall" opened in December 1919. In 1920, the artist received a large workshop in house no. 10 on Bolshaya Sadovaya Street, in the same year he marries Natalia Shif, and in September 1921, at one of the evenings in the Yakulov workshop, Sergei Yesenin met 799:(Chamber theater, production by Tairov). In August of the same year, the Chamber Theater organized a personal exhibition of Georgy Yakulov, presented more than 200 works of painting, sketches and models of scenery, costumes; artist N. Denisovsky painted a full-length portrait of the teacher for the exhibition against the background of a poster for "Pittoresk". 957:

of the revolution. Outside, the spiral ramp "Road 26" was decorated with sculptures of 26 Baku commissars. Memorial, conceived not just as a monument to people, but as a monument to events that embodied the ideas of millions, - "could turn into a center of public forums, mass theatrical performances, concerts, celebrations on the occasion of solemn dates".

1445:- all his drawings were accompanied by detailed verbal explanations of the nature of the interactions of the dynamics of movements of ballet dancers with the kinetics of the moving parts of the scenery, schematic indications of sources and directions of complex lighting scores and so on. "Steel Skok" was created in collaboration with the composer 249:": "The paradoxical drawing" Horse Racing "by G. Yakulov is carried out sharply, the artist interestingly applied the colored spots of chinese vases to his theme". A strong impression on contemporaries was made by bright entertainment and organicity, with which Yakulov connected in this work the traditions of the 978:"Models of Tatlin and Yakulov at the International Exhibition in Paris in 1925 were exhibited in the immediate vicinity. Yakulov received the highest architectural award, Tatlin - none. Probably, the light and elegant Yakulov model, graceful as a statuette, to a greater extent corresponded to the taste of French 1449:, whose music was written "simultaneously with Yakulov's script - by scenes, by episodes", and for the first time in the history of Diaghilev's" Russian ballets "the script prescribed" literally in seconds, not only the development of the plot, but also the nature of the movements and the number of characters". 1327:: sketches for scenery and stage costumes, models, dolls made according to the artist's sketches. Several costumes for the ballet "Steel Gallop" are in the National Gallery of Australia. Separate Yakulov sketches are in the collections of the St. Petersburg Museum of Theater and Musical Art, the museums of the 159:, but was not a member of any of the art groups, was looking for his own visual method, combining the culture of the East and the culture of the West. The ideas put forward by him "the theory of light and the origin of styles in art", called the "theory of multi-colored suns", developed by the French artist 963:, under the impression of the image of the monument, created his "Ballad of twenty-six", dedicating it to my friend: "With love to the wonderful artist G. Yakulov", and read the ballad for the first time on the anniversary of the death of the commissars on September 20, 1924, on Freedom Square in Baku. 1118:

In the spring of 1928, the People's Commissariat for Education applied for the awarding of the title of Honored Artist to G. Yakulov, in connection with the 25th anniversary of his creative activity, a committee for the celebration of the anniversary was organized under the chairmanship of A. Tairov.

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By the end of the summer of 1927, after the triumphant completion in Paris of the ballet the "Steel Gallop", when Yakulov again hoped to organize his personal exhibition from the works brought in 1925, from Moscow comes the news of the arrest of his wife. Leaving the paintings in Paris in the care of

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The most productive stage in Georgy Yakulov's creative activity was his work as a theater artist. From 1918 to 1926, he took part in 20 productions of Moscow theaters (some of them were not carried out, but were embodied in the sketches of scenery and costumes made by Yakulov). The presence of Georgy

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Theatrical works fully revealed the synthetic character of Yakulov's work. A one-of-a-kind combination of constructivism with decorativeism, wild imagination and practical ingenuity, innovative searches and striving to preserve the generic specificity of theatrical art, wide intellectual outlook and

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On January 6, a train with a funeral carriage arrived in Moscow, where the committee for organizing the funeral was created, headed by Lunacharsky. One of the organizers of an unusual farewell ceremony, Yakulov's student, artist N. Denisovsky, described in his memoirs this meeting, which involved an

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According to the Yakulov-Shchuko project, the monument, about 56 meters high, had six floors and ended with an open observation gallery. The first floor housed a library with a book depository and an archive, on the second - a columned hall with choirs, on floors 3-6 - memorial rooms for the leaders

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was engaged in the development of lamps based on Yakulov's rough sketches (this was his first design job), sculptor P. Bromirsky helped to create chandeliers, the rotating elements of the hall's decorative solution were embodied in the material by N. Goloshchapov. For the artists invited by Yakulov,

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The Jewish studio, which came from Minsk to Moscow in 1926 to study, was reorganized in the fall into the Belarusian State Jewish Theater (BelGOSET); it was in the process of working on "Shylock" that the artist read the lecture "The Parade of Arts and the Frontiers of Theater" to the troupe of the

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At the same time, in a number of Yakulov's articles on the art of theater, the materials of his speeches, unfinished works and letters contain many theoretical statements, related to practical issues of theatrical work, often complementary to each other and in a complex constituting a single whole.

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Despite the significant number of Yakulov's appearances in print, he did not carry out a systematic presentation of his theoretical views. The theory of "multi-colored suns", declared by him in the articles "Blue Sun" and "Ars solis. Color Painter's Sporades ", remained unfinished and, according to

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At the same time, Yakulov did not remain aloof from the social aspirations of the new era and showed himself to be "an energetic champion of the rights of fellow artists". In 1917, together with Lentulov, he was elected to the artistic and educational commission under the Moscow Council of Workers'

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of the Lazarev Institute of Oriental Languages (expelled from the sixth grade in 1898 for disobeying the rules of the boarding school). Unlike older brothers, Alexandra and Yakov, who have chosen a legal career, George showed interest in art and in 1901, after two months of classes at the school of

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In addition to early decorative compositions that transformed visual images of the East in Western figurative forms ("Roosters", "Decorative Motif") and a series of paintings from the mid-1910s, embodying in practice the Yakulov theory of "multi-colored suns" ("Spring Walk", "Fantasy", "Bar" - all

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fund contains two sketches by G. Yakulov for costumes for "Steel Dap", as well as a number of letters from the artist to S. Diaghilev (three of them, which are of significant importance in the theoretical legacy of Yakulov, were published in the article by G. Kovalenko). The main sets of documents

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The World's Fair, which opened on April 28, 1925, ran through October; Yakulov arrived in Paris in June and brought with him about 100 works, intending to organize a personal exhibition. The exhibition did not take place, but the artist stayed in Paris until December: his fame and recognition as a

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and many others. Bright, spectacular and innovative work on the creation of the cafe "Pittoresk" put forward Yakulova in the creative, and in the professional workshop, and socially and culturally to the center of the artistic life of Moscow: in the design of the cafe "Yakulov flashed immediately,

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and monumental art became his work on the design of the Moscow artistic cafe "Pittoresque" (pittoresque - "picturesque"). Even in the pre-revolutionary years Yakulov designed a number of club interiors as a decorator for various charity and entertainment events - an evening on the theme "China" at

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In other cases, it is practiced to avoid direct comparisons of Yakulov painting with the mainstream of the avant-garde - they are replaced by the analysis of its individual qualities: "The life of light in Yakulov's painting is strikingly diverse: not only images of the rays themselves, but their

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The small number of surviving paintings by G. Yakulov makes it impossible to characterize his pictorial work as a whole, compose its periodization, correlate with the searches of other artists and forms the belief that, although Yakulov began as a painter, "but his talent had to develop and prove

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Yakulov's overall design solution separated the decoration from the walls and brought him into a constructively and dynamically organized space of the hall. But decorativeness, as an artistic principle, was preserved, which contradicted the main ideology of the constructivists and led to a purely

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When I entered the room, I saw that this building was formed from the space between two houses, the windows of which looked into this room, and the semicircular glass ceiling, like that of a greenhouse, was formed by iron arcs. Having experience in decoration from my past, I drew attention to the

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concept opposing the art of the West, as the embodiment of geometric perception, directed from object to subject, - the art of the East, the algebraic worldview, going from subject to object". In more specific issues - distinguishing the types of painting of previous eras by the prevailing color

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Council approved of the three considered projects of the monument preliminary design of Yakulov-Shchuko. In August 1924, Yakulov brought to Baku a finished project and layout of the "26", on August 24, the project was unanimously approved. The sculptural and architectural structure of the future

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In November, Yakulov caught a cold and fell ill with pneumonia. He was admitted to the hospital in Yerevan, where he drew up detailed notes for the anniversary committee: "My biography and artistic activity", "My artistic activity from 1918 - 1928" and sent to the Chamber Theater, Tairov. These

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In the second half of the 1900s, Yakulov first appeared as an architectural decorator, decorating the premises for the "Evening of Russian Writers" (1907) and did first steps in book graphics - small works in the magazines "Libra" and "Golden Fleece". In 1908, his works were presented at the VI

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From the earliest works, Yakulov surprised by the combinations of the incompatible inherent in his style: in a small, reminiscent of an old miniature, "To the Street" (1909), the emphasized decorativeness of the enamel painting was combined with the methods of transmitting the light-air medium,

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the script plan for the ballet they had conceived, Yakulov notes the internal correspondence to the theme of the future production of the Introduction, just composed by Prokofiev. At the same time, in literally a few phrases, he not only expresses program ideas about the relationship of music,

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Carnival eccentricity of the Yakulov theater performances, who showed herself two years earlier in "Princess Brambill" and which seemed to the audience a cascade of impromptu, was strictly organized by the artist: this is evidenced by the preparatory sketches with the consistent development of

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in the Armenian lane, another, at 10 Bolshaya Sadovaya, where Yakulov lived, and the third - on the building of the Chamber theater, where he worked. ...Forty horsemen of the military band opened the procession, making their way through the crowd of people that filled the entire station square

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researchers, was not so much a theory, how much by the presentation of the artist's philosophical ideas about the stylistic differences of cultures of different regions in the bizarre terminology of his own invention. According to the brief and generalizing formulation of his fellow futurist

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The kinetic techniques of Yakulov's scenography reached their maximum amplification in "Steel Skok": criticism noted that at each site and at each level of space "something happens simultaneously and often completely independently of what is happening nearby". But this radical constructivist

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The artist consolidated his creative success by participating in the exhibition "Wreath" (1907) a variety of graphic and painting works ("Man of the Crowd", "Roosters", "Sukhum under the Snow", "Hermitage Garden", "Arab Symphony" etc.) but now Muratov spoke very restrainedly about his recent

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with metal buttons. White top hats were worn on their heads. The actors of the Chamber Theater walked in pairs in procession with lighted torches in their hands, illuminating Yakulov's road to eternity. Three black squares on subframes - two by three meters - were hung on the buildings with

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At the end of December 1913, at meetings in Stray Dog, a controversy arose about the priority of ideas, put forward by R. Delaunay in his theory of "simultanism-orphism" - after the report of the philologist A. Smirnov, who promulgated the concept of Delaunay, Yakulov protested against the

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The fact that Tatlin took a demonstratively performing position is evidenced by the conflict described by A. Rodchenko between Tatlin and Yakulov at the stage of remuneration, when "painter Tatlin" demanded that Yakulov pay him for the "painting work" performed - Sidorina, 2012, p.

1200:<...> the procession moved to the Kuznetsky Most, and when the front part of it with wreaths was already on Petrovka and climbed up Kamergersky lane, all Kuznetsky was in torches and flowers, and the coffin itself and the people seeing off were still in Furkasovsky lane ... 1351:

The first retrospective exhibitions of the artist's works were held in Yerevan in 1959, 1967 and 1975. In 2015, the Tretyakov Gallery organized the exhibition "Georgy Yakulov. Master of multicolored suns", presenting about 130 works from several museums and private collections.

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Georgy Yakulov's posthumous exhibition of works in Moscow could not be organized, as it turned out that there was not a single painting in the artist's studio after his death, and his entire creative archive was missing. Yakulov had left about 100 of his paintings in Paris with

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realistic multi-storey building foreground - with a semi-fantastic view "on the blue street-bowl, in which not so much moving as resting black-red-white carriages with smart riders and pedestrians". At the exhibition "Wreath", he became close to the artists of the association

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orchestra of 40 cavalrymen on horseback, 40 torches and a hearse wagon on a sleigh, draped with black cloth, with a red rectangular pedestal for the coffin; four lamps were lit on its sides, made at the Chamber Theater according to Yakulov's sketches for the play "Rosita":

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group, their teacher took part in group exhibitions in 1919 and 1921, and the workshop of Professor Yakulov was awarded by the Theater Department of the People's Commissariat for Education for the competitive work of the layout for the play "Oedipus the King" (1920).

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Meyerhold rejected Yakulov's layout for the second edition of Mystery Buff (due to differences in the understanding by the masters of constructivism), but planned to use it when staging Wagner's Rienzi, but the opera was presented only in concert - Ivanov, 2014, p.

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1915), the cross-cutting themes of different years in Yakulov's painting were urbanism and the atmosphere of public entertainment: crowd in urban and suburban landscapes or in confined spaces of bars and cafes, masquerade, fairgrounds, characters from the Italian

387:. In 1913, Yakulov, together with the blue-rozovites Saryan and N. Milioti, illustrated the book of poems "Purple Kifera" V. Elsner, with Sudeikin created the scenery for the theatrical program "Dog Carousel" in the artistic cabaret "Stray Dog" in St. Petersburg. 1461:

experiment of Yakulov remained only an episode in his theatrical work. He "did not consolidate his positions" did not repeat itself. Having exhausted one artistic technique, in parallel he developed another, depending on the genre specifics of a particular play.

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In 1920-1921 Yakulov designed Marienhof's books, "Hands with a Tie" and "Tuchelet." In 1922 he participated in the article "Ars Solis" and two drawings of theatrical scenery in the first issue of the magazine of imagists "Hotel for travelers in the beautiful".

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Cafe Pegasus' Stable occupied the basement of the pre-revolutionary cafe Bom, at the corner of house No. 37 on Tverskaya Street, with an exit to Maly Gnezdnikovsky Lane (the building has not survived, in its place in 1940 the existing building 17 was

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cemetery. The committee for the perpetuation of his memory raised questions about the monument to the artist, about organizing an exhibition of his work, but to no avail. Only the widow was allowed to live in Moscow and was given a pension.

617:) set by G. Yakulov. Before that, in the spring of 1918, the first theatrical work of the artist, at the initiative of Meyerhold, was the design of the performance "Exchange" (joint production by Meyerhold and Tairov based on the play by 4624: 3998:

At the premiere performance, "applause lasted throughout the entire performance. Yakulov <…> was summoned by the public 8 times "-" Lunacharsky A. "Politics and the public (from Parisian impressions) // Red Panorama. - 1927. - No.

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Arts parade and theater boundaries. Lecture (1926) // Mnemosyne: Documents and facts from the history of Russian theater of the twentieth century. Issue 5. / Publ., Entry. article and comment. V.V. Ivanova. - M .: Indrik, 2014. - P.

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Bogdan Galustovich Yakulov (Yakulyan): George was the youngest, ninth child, a darling and a favorite of his parents. Father died in 1893, and mother, Susanna Artemievna (née Kananova), taking six children with her, she moved to

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The State Demonstration Theater, organized by V. Sakhnovsky, opened in October 1919, G. Yakulov was a member of the theater management board; the premiere of the performance took place on November 25, 1919 - Aladzhalov, 1971,

1245:, but the French exhibition did not take place either, and Yakulov's paintings became the property of Goncharova's and Larionov's heirs after their death. In 1968 A.K. Larionova-Tomilina donated 11 works by Yakulov to the 904:, a group of artists headed by Yakulov for six months of painstaking work, complex tariff rates for all work processes in painting were developed, sculpture, architecture, printing: according to the People's Commissar 240:

The very first work "Horse Racing", created by Georgy Yakulov upon his return to Moscow and shown by him in 1906 at the exhibition "Moscow associations of artists", attracted attention in art circles and was noted by

4619: 2115: 2101: 2073: 1134:, the coffin with the artist's body was sent by a special funeral carriage to Moscow. Farewell ceremony with Yakulov was held in Yerevan on December 31 - Armenian leaders and friends paid a debt to the artist - 974:). Yakulov's works, as a member of the international jury, did not participate in the competition, they were awarded Honorary Diplomas (the second most important award after the Grand Prix) out of competition. 1150:. On the way to Moscow, the funeral car was uncoupled from the train in Tiflis and on January 2, on the day of the 45th birthday of Georgy Yakulov, representatives of the Georgian public said goodbye to him - 1873: 967: 413:

At the beginning of 1914 in the almanac "Alcyone" Georgy Yakulov made an article-essay "Blue Sun", the first in a series of works outlining the theory of "multi-colored suns": following the "blue sun" of

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Simultaneously and in parallel with theatrical and decorative creativity, Yakulov was able to step into the design and construction (architectural) sphere: in 1922 on the instructions of the head of the

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The three-part painting by G. Yakulov "There lived a poor knight" (1910-1911) in 1967 was in France, in the collection of A. K. Larionova-Tomilina; her further fate is unknown - Vakar, 2016, p. 159.

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In the design of the cafe "Pittoresk" G. Yakulov acted as the author of the project and the head of the work, lasted from July 1917 to January 1918, and attracted a large group to carry them out

2087: 2157: 2041: 2013: 927:. Yakulov considered the design of the "26 monument" to be his major work: "This work completes a cycle of works throughout my entire artistic activity to create a work of heroic pathos". 1344:

and photographs related to the life and work of Georgy Yakulov are kept in the National Art Gallery of Armenia, in the Department of Manuscripts of the Theater Museum. Bakhrushin and at

2055: 1426:- led to a true triumph in the play "Girofle-Girofle". At the same time, Yakulov not only created an enchanting spectacle, but also proved himself as an innovator in stage technology: 1954: 1028:. In the fall of 1923, during a trip to Baku related to the design of the "Monument to the 26", Yakulov took part in the work on the scenery of the play "Lake Lyul" A. Faiko at the 2027: 206: 667: 1528:

Describing in the same lecture the pace of audience perception in different historical epochs a simple comparison of the speed of movement of a car wheel relative to a cart

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However, the issue of awarding the title and the organization of the anniversary evening was delayed, Yakulov's lung tuberculosis progressed, and in August 1928 he left for

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The cafe was opened on January 30, 1918. A string quartet played on the stage every day, artistic performances were played, writers read their works, there were disputes.

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Yakulov, the set designer, sought to co-write with the director: if in unrealized productions of "Hamlet" and "Mystery-Buff" this became the reason for the conflict with

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Parade of Arts and Theater Borders. G.B. Yakulov. Lecture (1926) // Mnemosyne: Documents and facts from the history of Russian theater of the twentieth century. Issue 5

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Yakulov reported about this threat in his letter to the People's Commissar Lunacharsky - see: Mass propaganda art of the first years of October ". - M., 1971. -P. 128.

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to participate in the creation of a ballet about the life of modern Russia. By order of Diaghilev, he began to work on sketches of scenery and costumes for the ballet

209:, however, for failure to attend classes in May 1903, he was expelled from the head class of the painting department and was soon drafted into the army. Served in the 3793:, in his diaries of the summer of 1925, mentions "a number of models" of Yakulov's decorations for Moscow theaters at the World Exhibition - Kovalenko, 2012, p. 278. 1999: 1308:, remain in domestic and foreign private collections, but the total number of paintings by Yakulov is small and the location of many of his paintings is not known. 454:, (commissioned by N. Filippov, one of the heirs of the famous moscow baker) was not only a more ambitious project, but also of particular professional complexity. 1971: 2462: 2419: 2386: 2347: 2319: 2291: 2221: 1253:, spouses, art historians Valentina and Jean-Claude Marcade). In 1972, the Society acquired most of Yakulov's works from Larionov's heirs and donated them to the 1724: 639:

The first meeting between Yakulov and Yesenin took place in the "Red Rooster", which later turned into a great friendship. Yakulov moves closer to a group of

4614: 1062:(premiered on March 3, 1927); both performances were staged by A. Burdzhalyan, Yakulov was assisted in these works by the young artist S. Aladzhalov; at the 647:, V. Shershenevich, and B. Erdman the "Declaration" of the imagists - it stated the "death of futurism", and modern painting was characterized as "cubes and 1441:

and all the details of the spatial composition. The same careful study of many details distinguished Yakulov's preparation of the scenography of the ballet

426:, but in this form the plan was not implemented, and only in 1922 the artist published an article developing his theory - "Ars solis. Colorist's Sporades". 1345: 181: 1494:

spectra and the search for color-space solutions for modern painting of the "electric sun" - Yakulov, according to his autobiography and the testimony of

99: 943:

monument had an asymmetric spiral shape, and by this decision, Yakulov actually entered into competition with Tatlin, who created their own model of the

1123:

for treatment. In Armenia, he made a series of landscape sketches and wrote two programmatic articles: "Theater and Painting" and "Revolution and Art".

1786: 1305: 4609: 2357:""Fortunately, there are Russians." Section of the Soviet theater at the 1925 International Exhibition of Decorative Arts and Art Industry in Paris" 1772: 1196: 4415:

Dynamics and kinetics in the understanding of Yakulov constituted various types of movement in theatrical art; see the Theoretical Ideas section.

1828: 1758: 1029: 606: 2403: 1859: 511:

it was an opportunity not only to make money, but also to implement ideas in the material, which they previously developed only in sketches.

446:

the Hunting Club (1908/1909), in the same place "Tiflis Maidan" together with B. Lopatinsky and A. Lentulov (1912), "Night in Spain" at the

100: 3769:

In the architectural section, a model of the monument was exhibited, in the theatrical section - a model for the play "Girofle-Giroflya":

1051: 402: 1800: 1297: 777:, staged by Khudoleev); "Mystery-Buff" by V. Mayakovsky (Theater of the RSFSR 1st, staged by Meyerhold and Bebutov - not completed). 441:

One of the "special points" in the creative biography of Georgy Yakulov, which marked the artist's transition from easel painting to

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translations into the language of native aspens". In the same year, the Imagists decided to triple their cafe "Stall of Pegasus" on

3512: 3493: 3462: 3434: 3391: 3280: 1681:

The paths of artistic culture in the TSFSR (Conversation with the artist Yakulov) // Dawn of the East. - Tiflis, 1926, December 15.

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inscriptions in white paint: "I lived here, worked here, studied here G. B. Yakulov ". One shield was hung on the building of the

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Bogdanovich on the Moscow stage "at times looked almost total", in 1923, critics wrote about the "yakulovization of the theater".

1933: 1055: 864: 1301: 180:

Georgy Yakulov. 1901. Photo from the personal file of a student of the Moscow School of Painting, Sculpture and Architecture.

4629: 4584: 1887: 1249:. A year before, the artist Rafael Kherumyan created the "Society of Friends of Georgy Yakulov" in Paris (whose members were 666:

In the period 1918–1920, Yakulov became a professor at the First Free State Art Workshops, formed on the basis of the former

1901: 1845: 1540:

choreography and scenography in the production of the play, but also provides a critical overview of other points of view:

628: 98: 1442: 1040: 1002: 1707:

Theater and Painting (1928) // Badalyan V. Georgy Yakulov (1884-1928) Artist, art theorist. - Yerevan: Edith Print, 2010.

863:

1926: "Rosita" by A. Globa (Chamber Theater, production by Tairov); "Shylock" ("The Merchant of Venice") by Shakespeare (

3842: 1836: 1596: 1293: 1645:

Revolution and art (Artist Yakulov about his project of the monument to 26) // Baku worker. - Baku, 1923, September 25.

720:

In 1918, in addition to "Exchange" and "Green Parrot", he worked on the play "The Seville Seducer, or the Stone Guest"

503: 474: 1749: 1254: 924: 519: 276:

debutant, in which, according to the critic, "sharpness and lethargy, originality and imitation are strangely mixed".

269: 1639:

Ex oriente lux. "Eternal Jew", or the Second Exodus of Jews in Palestine // Spectacles. - M., 1923. - No. 43. - P. 3.

491: 1915: 1181:

G. Yakulov. Girl with a fan. Sketch of a female costume for an unidentified performance. Theater Museum. Bakhrushina

30: 4594: 919:, he participated in the preparation of the "Red Stadium" project in Luzhniki, in 1923–1924, in collaboration with 1691:

About theater, cinema and art of the Transcaucasus (Fugitive notes) // Dawn of the East. - Tiflis, 1927, March 12.

1587: 450:

together with P. Konchalovsky (1912) and others. Retrofitting the high hall of the former Passage of San Galli on

4589: 3774: : Exposition internationale des arts decoratifs et industriels modernes (1925 : Paris, France) : 1224: 1506:, but, unlike his French colleague, his ideas did not have a noticeable influence on the work of other artists. 1406:

Scene from the play "Girofle-Girofle". Chamber Theater, 1922. Production by A. Tairov, scenography by G. Yakulov

1014: 4599: 1814: 938:

In September–October 1923, Yakulov and Shuko traveled to Baku and on October 2, the executive committee of the

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Paradoxical and temperamental, Yakulov was one of the most distinctive figures in post-revolutionary Moscow:

853: 913: 601:

In the fall of 1918, the Pittoresk cafe, due to the change of owner and the threat of reorganization in the

3321:"Tairov subordinated the performance to the theme of the Venetian carnival, organized by the rhythm of the 2122:

Sketch "Procession of the Moors and Murzuk" for the operetta "Girofle-Giroflya", 1922, Museum. Bakhrushina

3776: : Section de l’Union des Republiques Sovietistes Socialistes. Academie russe des Sciences de l’Art, 3239:

Yakulovization of theaters // Spectacles. - M., 1923. - No. 23 (6-12 Feb.) - P. 14-15. - Ivanov, p.241,261

1323:

More fortunate for the theatrical legacy of Georgy Yakulov: a significant collection of it is kept in the

1311: 2356: 1666:

An artist's diary. "Man of the Crowd" // Life of Art. - P. - M., 1924. - No. 2. P. 9–10; No. 3. - P. 7–9.

2063: 1079: 1059: 586: 487: 392: 281: 1391: 1381: 1190:

in a train, three pairs under black and silver blankets, and were accompanied by their guides in white

1067: 988: 514: 4579: 4574: 2136:

Sketch of costumes for Carmen and Jose for the unrealized ballet "Carmen", 1923, Museum. Bakhrushina

1618:

The value of the artist in modern theater // Theater Bulletin. - M., 1921. - No. 80-81. - p. 17.

1207: 483: 406: 261:

showed his flat gouaches with an entertaining crowd, they were perceived as an imitation of Yakulov.

156: 4201:

Bulletin of the Society of Friends of Yakulov: Notes et documents, no. 3, Paris, juillet 1972, p. 35

802: 613:, the premiere of the play "Green Parrot" staged by A. Tairov took place here (based on the play by 4560:

Grave of G. B. Yakulov and N. Yu. Yakulova at the Novodevichy cemetery (section 2, row 9, place 24)

3830: 1131: 905: 732: 728: 562: 538: 530: 507: 140: 1694:

Niko Pirosmanishvili (From the cycle "East - West") // Dawn of the East. - Tiflis, 1927, March 31.

1660:"Stenka Razin" (What is your opinion about the play?) // Spectacles. - M., 1924. - No. 73. - P. 5. 1636:

Two productions of the season // Teatralnaya Moscow. - M., 1922. - No. 4. - P. 12; No. 46. - P. 7.

1633:"Signor Formica" (on the principles of Hoffmann's design) // Screen. - M., 1922. - No. 31. - P. 5. 1606:

The principle of staging "Measure for Measure" // Theater Bulletin. - M., 1919. - No. 47. - P. 11.

632:

G. Yakulov. Attack of a lion on a horse. Sketch for a panel for the cafe "Stable Pegasus" (1919).

229: 4089: 2456: 2413: 2380: 2341: 2313: 2285: 2215: 1419: 1411:

lively reaction to the latest events in life and art - all this acquired an organic whole in the

1242: 1163: 1143: 1139: 1091: 1020:

Among the performances designed by Yakulov, there were several performances carried out in Baku,

830:

theater, production by Mchedelov); "Carmen", ballet by E. Esposito (ballet troupe V. Krieger and

815: 747: 610: 550: 499: 333: 325: 321: 214: 35: 2205: 1058:- Shakespeare's "The Merchant of Venice" (premiered on December 20, 1926) and "Morgan's In-Law" 1010: 966:

Models of the monument to 26 Baku commissars and theatrical scenery Yakulov participated in the

792: 343: 3281:"Portrait of the actor M.F. Lenin in the role of Angelo. Theater Museum named after Bakhrushin" 3826: 2399: 2299: 1962: 1732: 1592: 1486: 1332: 1324: 1246: 1177: 1063: 944: 916: 838: 754: 697: 690: 675: 633: 614: 566: 558: 419: 396: 337: 234: 2484: 2328: 2303: 2094:

Sketch of costumes for knights and heralds for the opera "Rienzi", 1923, Museum. Bakhrushina

4210: 3834: 3790: 3771: 3663: 2496: 2177: 1621:

Ars solis. Colorist's Sporades // Hotel for travelers in the beautiful. - M., 1922. - No. 1.

1549: 1536: 1529: 1495: 1446: 1438: 1423: 1402: 1278: 1238: 1159: 1087: 1071: 1006: 998: 920: 846: 762: 652: 554: 329: 309: 258: 2799:/ front. N. Milioti, ill. M. Saryan and G. Yakulov. - M .: Book publishing "Alcyone", 1913. 2396:

Sidorina E.V. Constructivism without shores. Studies and studies on the Russian avant-garde

2164:

Costume design for the unrealized play "The Seducer of Seville", 1918, Museum. Bakhrushina

2080:

Sketch of a Harlequin costume for the play "Princess Brambilla", 1920, Museum. Bakhrushina

1672:"Arsonists". New Drama Theater // Art for the Working People. - M., 1925. - No. 8. - P. 12. 1571: 889:

Deputies, then, with Malevich and Tatlin, - in the bureau of the trade union for painters.

3544: 3516: 3497: 3466: 3438: 3395: 3341: 2048:

Sketch of an ostrich costume for the play "Princess Brambilla", 1920, Museum. Bakhrushina

2020:

Sketch of costumes for priests for the play "The Jewish Widow", 1923, Museum. Bakhrushina

1499: 1328: 1285: 1266: 1258: 1167: 1155: 1147: 1135: 1047: 842: 831: 758: 736: 721: 671: 622: 578: 570: 546: 495: 380: 293: 289: 285: 264: 202: 197: 160: 3509: 3490: 3459: 3431: 3388: 3284: 2108:

Sketch of a man's costume for the operetta "Giroflé-Girofla", 1922, Museum. Bakhrushina

1579: 896:

Georgy Yakulov is working on the layout of the monument to 26 Baku commissars. 1923-1924

788:(Theater of the RSFSR 1st, staged by Meyerhold - not performed with sets and costumes). 3537: 3334: 2509: 2181: 1548:, which, as a method, in the absence of barefoot and amateurishness, will give the old 1545: 1336: 1289: 1270: 1250: 960: 827: 796: 785: 696:

Yakulov led a theatrical and decorative art workshop. Among his students were brothers

679: 656: 542: 534: 451: 447: 301: 297: 56: 4568: 3838: 3112:

Esenin S. Collected works in 5 volumes. T. 5. - M., GIHL, 1962. - P. 219-223, 385-386

1519: 1503: 1262: 1187: 1151: 1127:

documents summed up the artist's creative life: on December 28, Georgy Yakulov died.

1095: 823: 774: 648: 590: 317: 242: 2677:

Old and young at the last exhibitions |"Golden Fleece", 1908, No. 1 (January), p.89.

1609:

More about three-dimensionality // Theater Bulletin. - M., 1920. - No. 59. - P. 5–7.

1452: 1923: 1700:

Easelism and modernity. Artist's Notes // Art. - M., 1929. - No. 1-2. - P. 103–105.

1627:

On the problem of synthesis "East - West" // Screen. - M., 1922. - No. 22. - P. 13.

1603:

An artist's diary. Blue sun // Alcyone. Almanac. Book. 1. - M., 1914. - S. 233–239.

1490: 1340: 1316: 1274: 971: 811: 644: 618: 594: 582: 2429:""All wheels will turn ...": Georgy Yakulov - designer of the "Steel Skok" ballet" 2034:

Fairy costume sketch for the play "Princess Brambilla", 1920, Museum. Bakhrushina

1261:

organized a committee to publish a monograph about Georgy Yakulov, which included

1082:(gala evening on February 27, 1927, in honor of the 6th anniversary of the SSRG). 700:, Nikolay Denisovsky, Konstantin Medunetsky, Sergey Svetlov - they all joined the 4548: 526:

formal participation in the work on the cafe "Pittoresk" of their leader Tatlin.

104:

Conversation with N.Yu. Yakulova, wife of G.B. Yakulov, recorded by V.D. Duvakin.

1511: 1469: 1412: 1365: 1110: 1035: 819: 766: 716:"Girofle-Girofle" (1922). Costume design for Aurora. Theater Museum. Bakhrushina 712: 685: 442: 430: 254: 136: 132: 89: 1678:

Trial of the theatrical season // New spectator. - M., 1925. - No. 19. - P. 11.

934:

Sketch of the monument to 26 Baku commissars. 1923. National Gallery of Armenia

930: 892: 176: 4554: 3322: 2510:"By way of Le Pas d'acier Prokofiev and Iakulov's Ursiniol comes to the stage" 1191: 791:

1922: Signor Formica, after Hoffmann (Chamber Theater, production by Tairov);

609:

and renamed to the "Red Rooster" club-workshop. On the 1st anniversary of the

602: 2471: 1130:

The upcoming jubilee celebration became a civil funeral service. By order of

2231: 857: 770: 640: 152: 4451:

In memory of Yakulov. - Contemporary theater. - M., 1929. - No. 3. - P. 37.

2194: 187:

The future artist was born in Tiflis, in the Armenian family of the famous

111:, (Armenian Յակուլյան Գևորգ Բոգդանի Georges Yakulov (January 2 (14), 1884, 4559: 2500: 1657:

Yakulov talks about philistinism // New ramp. - M., 1924. - No. 2. - P. 6.

1456:

Set design for the opera "Rienzi" (1921-1923). Theater Museum. Bakhrushina

4138: 979: 409:. Silhouette portrait of Yakulov (1915-1917). National Gallery of Armenia 364: 308:

exhibition of the Union of Russians artists, in 1909 - at the exhibition

210: 148: 128: 124: 120: 85: 81: 2229:

Khidekel, R. P. (1971). "About three artists of the Chamber Theater. ".

1992:

Set design for the play "Princess Brambilla", 1920, Museum. Bakhrushina

806:"Beautiful Helene" (1924). Scenery sketch. Museum of the Bolshoi Theater 643:

and on January 30, 1919, signed together with S. Yesenin, A. Mariengof,

3679: 2793: 1685: 1654:

About Meyerhold's "Forest" // Spectacles. - M., 1924. - No. 72. - P. 7.

1465: 1120: 1075: 1025: 1021: 123:

of who was active in the Russian Empire and later in the Soviet Union,

116: 112: 70: 52: 2150:

Sketch for the costume of Formica for the play "Signor Formica", 1922

1663:

Evaluation of artistic work // New ramp. - M., 1924. - No. 6. - P. 14.

1615:

From the artist's diary // Art and Labor. - M., 1921. - No. 1. - P. 9.

852:

1925: "Green Island" by C. Lecoq (Musical Comedy Theater, production:

746:" Shakespeare (Theater of the RSFSR 1st, production by V. Bebutov and 4625:

Academic staff of Stroganov Moscow State Academy of Arts and Industry

1675:

Sculptor Mendelevius // Krasnaya Niva. - M., 1925. - No. 6. - P. 125.

1473: 781: 743: 384: 356: 313: 218: 193: 188: 144: 3450:

Premiere of the performance: June 5, 1923 - Ivanov, 2014, p.241,265.

2765: 2763: 1648:

From the artist's diary // Spectacles. - M., 1923. - No. 69. - P. 6.

908:, the "Izotruda tariffication system" was carried out exhaustively. 143:

innovators, he actively interacted with various artistic movements (

2485:"Des lumières du soleil aux lumières du théâtre: Georges Yakoulov" 2006:

Oedipus costume sketch for the play "Oedipus the King", 1920, NGA

1586: 1578: 1570: 1451: 1401: 1380: 1364: 1310: 1176: 1109: 1034: 987: 929: 901: 891: 801: 711: 684: 627: 513: 473: 423: 415: 401: 376: 368: 360: 352: 342: 263: 228: 175: 96: 1978:

Cemetery. Set design for the unrealized play "Hamlet", 1920, NGA

1697:"Steel skok" S. Prokofiev // Rabis. - M., 1928. - No. 25. - P. 5. 3678:

was published on October 21, 1923 on the cover of the magazine "

3528:

Premiere of the play: March 26, 1926 - Ivanov, 2014, p. 241,266.

1114:

G. Yakulov. Dilijan landscape. 1928. National Gallery of Armenia

939: 822:, staged by I. Prostorov); "The Eternal Jew" by D. Pinsky after 372: 250: 246: 1642:

In memory of the 26 // Baku worker. - Baku, 1923, September 23.

1624:

My counterattack // Hermitage. - M., 1922. - No. 7. - P. 10–11.

849:); "Princess Turandot" by K. Gozzi (production not completed). 2196:

Chamber Theater and its artists: 1914-1934. [Foreword]

1880:

Panel for the cafe "Pittoresk", 1917, State Tretyakov Gallery

1612:

From the artist's diary // Rampa. - M., 1921. - No. 8. - P. 4.

900:

In 1920–1921, on the instructions of the Central Committee of

4061:

The text was reprinted in the book: Kostina, 1979, pp. 73-93.

3748:

Collected works in 5 volumes. T. 2.- M., GIHL, 1961.- P. 178.

3253: 3251: 3249: 3247: 3245: 2305:

One and a half-eyed Sagittarius: Poems, translations, memoirs

2066:

for the play "Princess Brambilla", 1920, Museum. Bakhrushina

598:

easily and generously. His path was clear "- wrote A. Efros.

4620:

Moscow School of Painting, Sculpture and Architecture alumni

4363: 4361: 4359: 3829:

was the chairman of the selection committee, his deputy was

3415: 3413: 3407:

Premiere of the play: October 3, 1922 - Ivanov, 2014, p.262.

3220: 3218: 3142: 3140: 1468:

that required meager formal decisions, his scenography - in

1284:

Scattered works of the artist are in the collections of the

997:

set designer is so high that Yakulov received an offer from

478:

General view of the stage of the cafe "Pittoresk". 1917—1918

3729: 3727: 3702: 3700: 3205: 3203: 2918: 2916: 2750: 2748: 2746: 3666:

and a sketch by B.L. Lopatinsky - Aladzhalov, 1971, p. 96.

2933: 2931: 2843: 2841: 1651:

Artist's notebook // Ramp. - M., 1924. - No. 8-21. - P. 4.

1050:, at the invitation of the Central Election Commission of 947: 4173: 4171: 2610: 2608: 2606: 1961:

Set design for the unrealized play "Mystery-Buff", 1920,

1630:

On eccentric art // Screen. - M., 1922. - No. 31. - P. 4.

3305: 3303: 3301: 2886:

Experiments for the future. - M., Grant, 1996. — P. 212.

2709: 2707: 982:, which triumphed at its victory at the exhibition ... " 3772:

Exposition de 1925 : Section URSS : catalogue

2251:

Problems of the history of Soviet architecture. Issue 3

992:

Layout of the stage for the ballet "Steel Gallop". 1927

383:), in 1913 he took part in the Autumn salon "Storm" in 316:, since 1911 have been exhibited at exhibitions of the 2545: 2543: 1583:

Cover of the collection "Spring Salon of Poets" (1918)

1074:, premiered on November 5, 1927) and "Dideba Zaghes", 502:, B. Shaposhnikov, A. Rybnikov. Together with Tatlin, 3325:"; premiere: May 4, 1920 - Ivanov, 2014, p. 241,263. 2327:

Kovtun, E. F.; Nerler, P. M.; Parnis, A. E. (1989).

1669:

Monument 26 // Baku worker. - Baku, 1924, August 25.

1518:"Kinetics is the area of consciousness, rhyming and 1005:, libretto of which he wrote together with composer 320:. At the beginning of 1911 G. Yakulov together with 196:, where George in the same year was assigned to the 3519:. St. Petersburg Museum of Theater and Musical Art. 2333:

Half-eyed Sagittarius: Poems, translations, memoirs

1220:

Wife - Natalya Yulievna Yakulova (Shif) (1891-1974)

605:, was transferred to the Theater Department of the 77: 63: 45: 21: 4460: 3581:Portraits with words. Essays. — M., 1995. — P.141. 2859: 2832: 2808: 2769: 1369:Tverskaya (1917-1919). National Gallery of Armenia 221:he was wounded and in 1905 he returned to Moscow. 207:Moscow school painting, sculpture and architecture 213:(where he managed to paint), participated in the 1032:(production by D. Gutman, premiere October 30). 506:took part in the painting of the glass ceiling, 2373:Georgy Yakulov (1884-1928) Artist, art theorist 1542: 1516: 1428: 1206:On January 7, Georgy Yakulov was buried at the 1184: 976: 872: 456: 418:, he intended to write about the "pink" sun of 4211:Georgy Yakulov at the Center Pompidou (Paris). 2242:Questions of Soviet Fine Arts and Architecture 818:and V. Sakhnovsky); "Rienzi", Wagner's opera ( 4057: 4055: 4053: 4051: 4049: 4047: 4045: 4043: 4041: 1498:, in the summer of 1913 he collaborated with 1064:State Drama Theater named after Sh. Rustaveli 834:, production by M. Mordkin - not completed). 8: 3890: 3878: 3854: 3802: 2186:Journal of the Glaviskusstva Narcopros RSFSR 753:1920: "Princess Brambilla", capriccio after 340:took part in the exhibition "Moscow Salon". 1281:, however the project was not implemented. 1046:In October 1926, G. Yakulov, together with 724:(production by A. Chabrov; not completed). 689:Princess Brambilla (1920). Scenery sketch. 4293: 4162: 4150: 4125: 4113: 4101: 4070: 4032: 4020: 4008: 3986: 3974: 3962: 3950: 3902: 3866: 3833:, the committee also included 13 members: 3814: 3757: 3718: 3691: 3602: 3590: 3566: 3557:Jewish theater - Ivanov, 2014, p. 241—242. 3478: 3419: 3224: 3194: 3182: 3158: 3146: 3131: 3100: 3019: 3007: 2961: 2895: 2737: 2662: 2638: 2597: 2585: 2573: 2461:: CS1 maint: location missing publisher ( 2418:: CS1 maint: location missing publisher ( 2385:: CS1 maint: location missing publisher ( 2346:: CS1 maint: location missing publisher ( 2318:: CS1 maint: location missing publisher ( 2290:: CS1 maint: location missing publisher ( 2220:: CS1 maint: location missing publisher ( 1535:In August 1925, explaining in a letter to 518:G. Yakulov. Pittoresk cafe poster (1917). 18: 4520: 4436: 4424: 4314: 4233: 4221: 3926: 1502:, in parallel developing their theory of 945:"Tower of the III International" in 1920. 867:, staged by V. Sakhnovsky, M. Rafalsky). 4549:Georgy Yakulov "Waves of Happiness" 1981 4496: 4391: 4350: 4257: 3938: 3914: 3676:One of the variants of this draft design 3638: 3547:. Theater Museum named after Bakhrushin. 3335:Set design. "The stage of the magician." 3064: 3031: 2985: 2973: 2937: 2847: 2820: 735:(State Demonstration Theater, staged by 375:), in 1911-1913 he spent a long time in 4367: 4326: 4269: 4245: 4177: 3733: 3650: 3626: 3614: 3257: 3209: 3170: 3088: 2949: 2922: 2907: 2781: 2713: 2614: 2527: 1950: 1793:"Fight", 1912, State Tretyakov Gallery 1720: 860:" Shakespeare (unrealized production). 569:, A. Lentulov, K. Malevich, M. Saryan, 4532: 4508: 4484: 4379: 3780:. Paris, 1925. — Moscou, . P. 111,172. 3387:Premiere of the play: June 13, 1922 - 3375: 3353: 3309: 3076: 2698: 2626: 2549: 2534: 2454: 2411: 2378: 2339: 2311: 2283: 2213: 841:(Experimental Theater / Branch of the 4472: 4403: 4338: 4281: 4189: 4137:The funeral of the artist Yakulov // 3706: 3043: 2871: 2754: 2725: 2686: 2650: 2561: 1866:"Bar", 1915, State Tretyakov Gallery 1066:- "Carmencita" by K. Lipskerov after 347:Spring Walk (1915). Tretyakov Gallery 7: 3389:Costume design for four academicians 1779:"Lombardy", 1912, Tretyakov Gallery 1017:in Paris, then was shown in London. 379:(where he met and communicated with 4615:Georgian people of Armenian descent 1807:"Battle of the Amazons", 1912, NGA 1472:or in an unrealized production of " 1415:of the outstanding theater artist. 1385:Crowd Man (1922). Tretyakov Gallery 486:artists and non-objects: L. Bruni, 3510:City. Costume design for King Lear 2489:Cahiers du monde russe et soviiers 1102:, premiered on November 6, 1928). 1013:was performed on the stage of the 1009:. "Steel Gallop" choreographed by 668:Stroganov School of Industrial Art 14: 1575:Fantasy (1915). Samara Art Museum 40:Portrait of Georges Yakulov, 1910 4461:Kovtun, Nerler & Parnis 1989 2860:Kovtun, Nerler & Parnis 1989 2833:Kovtun, Nerler & Parnis 1989 2809:Kovtun, Nerler & Parnis 1989 2770:Kovtun, Nerler & Parnis 1989 2156: 2142: 2128: 2114: 2100: 2086: 2072: 2054: 2040: 2026: 2012: 1998: 1984: 1970: 1953: 1932: 1914: 1900: 1886: 1872: 1858: 1844: 1827: 1813: 1799: 1785: 1771: 1757: 1740: 1723: 1333:Shota Rustaveli Georgian Theater 968:World Exhibition in Paris (1925) 691:Theater Museum them. Bakhrushina 674:, A. Lentulov, P. Konchalovsky, 29: 4610:Burials at Novodevichy Cemetery 3778:State academy artistic sciences 1940:"Before the Mirror", 1920, NGA 1688:. - M., 1926. - No. 20. - P. 10 1232:The fate of the creative legacy 1186:The hearse was carried by four 865:Belarusian State Jewish Theater 3500:. Theater Museum. Bakhrushina. 3469:. Theater Museum. Bakhrushina. 3441:. Theater Museum. Bakhrushina. 1765:"Decorative theme", 1907, NGA 925:monument to 26 Baku commissars 1: 4035:, pp. 213, 256, 314–315. 3398:. Theater Museum. Bakhrushin. 2988:, pp. 542–543, 556, 648. 2483:Marcadé, Jean-Claude (1972). 1398:Theatrical and decorative art 814:(Theater B. Korsh, staged by 3989:, pp. 175–179, 183–185. 3977:, pp. 145–159, 161–172. 3344:. Bakhrushin Theater Museum. 2355:Strutinskaya, E. I. (2008). 1837:Museum of Arts of Uzbekistan 1335:. The Library-Museum of the 1223:Nephew - virtuoso violinist 1056:1st State Theater of Armenia 923:, he created a project of a 837:1924: "Beautiful Helena" by 810:1923: "The Jewish Widow" by 698:Vladimir and Georgy Stenberg 253:with the aesthetics of late 16:Armenian painter (1884–1928) 4555:Honoring the artist Yakulov 4551:- Essays by Telman Zurabyan 4086:Death of the artist Yakulov 4023:, pp. 8, 207, 220–224. 3841:, J. Tugendhold, D. Arkin, 1963:Theater Museum. Bakhrushina 1894:"Negro" (panel), 1917, NGA 1422:, then in partnership with 682:, and other famous artists 520:National Gallery of Armenia 429:Since the beginning of the 270:National Gallery of Armenia 4646: 2898:, pp. 49–54, 306–307. 1908:"Genius of Imagism", 1920 1325:Theater Museum Bakhrushina 1319:(1920). Private collection 1302:Kaluga Museum of Fine Arts 351:In 1908 he made a trip to 109:Georgy Bogdanovich Yakulov 23:Georgy Bogdanovich Yakulov 2472:"Master of colorful suns" 2427:Kovalenko, G. F. (2012). 2276:Sarabyanov, D.V. (1987). 2269:Panorama of Arts. Issue 6 2267:Denisovsky, N.F. (1983). 2260:Georgy Yakulov. 1884-1928 2204:Aladzhalov, S.I. (1971). 1852:"Cafeshantan", 1912, NGA 1489:, Yakulov "had a kind of 1464:When Yakulov turned to a 443:theatrical and decorative 139:. Close to the circle of 28: 4605:Russian scenic designers 3953:, pp. 102–103, 311. 3161:, pp. 117, 309–310. 3134:, pp. 116–117, 308. 2398:. Yerevan. p. 656. 2278:Soviet painting. Issue 9 1315:G. Yakulov. Portrait of 3845:, G. Yakulov and others 3694:, pp. 97, 310–311. 2784:, pp. 73, 196–197. 2508:Press, Stephen (2005). 2451:. Yerevan. p. 800. 2394:Sidorina, E.V. (2012). 2375:. Yerevan. p. 168. 2210:. Yerevan. p. 320. 1821:Monte Carlo, 1913, NGA 1733:State Tretyakov Gallery 1015:Sarah Bernhardt Theater 233:"Horse racing" (1905). 3653:, pp. 75–76, 200. 2576:, pp. 30–31, 303. 2258:Kostina, E.M. (1979). 2249:Strigalev, A. (1975). 2240:Lapshin, V.P. (1975). 1599: 1584: 1576: 1562: 1524: 1457: 1432: 1407: 1386: 1370: 1320: 1255:Art Gallery of Armenia 1202: 1182: 1115: 1043: 1039:Georgy Yakulov. 1920s 993: 984: 935: 897: 884: 807: 717: 693: 636: 522: 479: 470: 467:. Autobiography (1928) 410: 348: 272: 237: 184: 105: 4630:Mir iskusstva artists 4585:20th-century painters 3617:, pp. 8/9, Ph.3. 3491:Sketch of men's suits 3460:Sketch of men's suits 3432:Sketch of men's suits 2797:Purple Kiefer. Erotic 2588:, pp. 33-34.303. 2501:10.3406/cmr.1972.1866 2470:Vakar, I. A. (2016). 2447:Ivanov, V.V. (2014). 2371:Badalyan, V. (2010). 2199:. pp. IX–XLVIII. 2193:Efros, A. M. (1934). 1731:"Cafeshantan", 1906, 1597:State Literary Museum 1590: 1582: 1574: 1455: 1405: 1384: 1368: 1314: 1304:, Samara Art Museum, 1294:State Literary Museum 1180: 1113: 1038: 1030:Baku Workers' Theater 991: 933: 895: 880:Valentina Khodasevich 805: 715: 688: 631: 517: 477: 405: 346: 267: 257:, and when, in 1908, 232: 179: 115:— December 28, 1928, 103: 4394:, pp. 548, 550. 4353:, pp. 545, 556. 4073:, pp. 256, 315. 4011:, pp. 204, 207. 3869:, pp. 129, 211. 3760:, pp. 102, 311. 3538:City. Scenery sketch 3378:, pp. 241, 264. 3197:, pp. 308, 309. 1306:Krasnodar Art Museum 820:"Zimin's Free Opera" 739:and V. Sakhnovsky). 492:S. Dymshits-Tolstaya 4511:, pp. 252–253. 4475:, pp. 145–147. 4463:, pp. 677–678. 4427:, pp. 288–291. 4341:, pp. 153–154. 4296:, pp. 200–201. 4284:, pp. 148–150. 4192:, pp. 156–157. 4153:, pp. 284–287. 4128:, pp. 206–207. 4104:, pp. 264–269. 4092:, December 29, 1928 3965:, pp. 23, 312. 3929:, pp. 281–285. 3917:, pp. 551–552. 3817:, pp. 309–310. 3709:, pp. 149–152. 3629:, pp. 75, 200. 3605:, pp. 106–107. 3260:, pp. 200–206. 2976:, pp. 540–542. 2910:, pp. 196–197. 2874:, pp. 147–148. 2823:, pp. 465–469. 2811:, pp. 676–678. 2757:, pp. 144–146. 2728:, pp. 141–142. 2689:, pp. 140–141. 2653:, pp. 139–140. 2564:, pp. 142–148. 775:Theater of B. Korsh 729:Measure for Measure 575:M. Ippolitov-Ivanov 217:, in a battle near 4236:, p. 282—285. 4090:Vechernyaya Moskva 3721:, pp. 98–101. 3543:2019-06-22 at the 3515:2019-06-22 at the 3496:2019-06-22 at the 3465:2019-06-22 at the 3437:2019-06-22 at the 3394:2019-06-22 at the 3340:2019-06-22 at the 1748:"Roosters", 1907, 1717:Painting, graphics 1600: 1585: 1577: 1567:Articles about art 1458: 1408: 1392:commedia dell'arte 1387: 1371: 1321: 1243:Natalia Goncharova 1183: 1116: 1106:Death and farewell 1044: 994: 936: 898: 808: 750:- not completed). 718: 694: 637: 611:October Revolution 523: 480: 411: 349: 273: 238: 225:Becoming an artist 215:Russo-Japanese War 185: 106: 36:Pyotr Konchalovsky 4595:Armenian painters 4370:, pp. 15–17. 4329:, pp. 10–14. 4141:, January 8, 1929 4083:Gilyarovskaya N. 3891:Strutinskaya 2008 3879:Strutinskaya 2008 3855:Strutinskaya 2008 3803:Strutinskaya 2008 3736:, pp. 18–19. 3579:V. M. Khodasevich 3212:, pp. 75–76. 2952:, pp. 74–75. 2925:, pp. 12–13. 2701:, pp. 73–74. 2665:, pp. 38–39. 2641:, pp. 37–38. 2600:, pp. 34–37. 2405:978-5-89826-365-2 2364:Theater Questions 2336:. L. p. 720. 2308:. Л. p. 720. 2165: 2151: 2137: 2123: 2109: 2095: 2081: 2067: 2049: 2035: 2021: 2007: 1993: 1979: 1965: 1941: 1927: 1909: 1895: 1881: 1867: 1853: 1839: 1835:"Circus", 1910s, 1822: 1808: 1794: 1780: 1766: 1752: 1735: 1593:Anatoly Mariengof 1480:Theoretical ideas 1247:Tretyakov Gallery 1225:Alexander Yakulov 1197:Lazarev Institute 793:"Girofle-Girofle" 755:E. T. A. Hoffmann 634:Tretyakov Gallery 437:Years flourishing 397:Mercure de France 245:in the magazine " 235:Tretyakov Gallery 205:, he entered the 101: 95: 94: 4637: 4590:Russian painters 4536: 4530: 4524: 4518: 4512: 4506: 4500: 4494: 4488: 4482: 4476: 4470: 4464: 4458: 4452: 4446: 4440: 4434: 4428: 4422: 4416: 4413: 4407: 4406:, p. XXXVI. 4401: 4395: 4389: 4383: 4377: 4371: 4365: 4354: 4348: 4342: 4336: 4330: 4324: 4318: 4312: 4306: 4303: 4297: 4291: 4285: 4279: 4273: 4267: 4261: 4255: 4249: 4243: 4237: 4231: 4225: 4219: 4213: 4208: 4202: 4199: 4193: 4187: 4181: 4175: 4166: 4160: 4154: 4148: 4142: 4135: 4129: 4123: 4117: 4111: 4105: 4099: 4093: 4080: 4074: 4068: 4062: 4059: 4036: 4030: 4024: 4018: 4012: 4006: 4000: 3996: 3990: 3984: 3978: 3972: 3966: 3960: 3954: 3948: 3942: 3936: 3930: 3924: 3918: 3912: 3906: 3900: 3894: 3888: 3882: 3876: 3870: 3864: 3858: 3852: 3846: 3824: 3818: 3812: 3806: 3800: 3794: 3787: 3781: 3767: 3761: 3755: 3749: 3743: 3737: 3731: 3722: 3716: 3710: 3704: 3695: 3689: 3683: 3673: 3667: 3660: 3654: 3648: 3642: 3636: 3630: 3624: 3618: 3612: 3606: 3600: 3594: 3588: 3582: 3576: 3570: 3564: 3558: 3554: 3548: 3535: 3529: 3526: 3520: 3507: 3501: 3488: 3482: 3476: 3470: 3457: 3451: 3448: 3442: 3429: 3423: 3417: 3408: 3405: 3399: 3385: 3379: 3373: 3367: 3363: 3357: 3351: 3345: 3332: 3326: 3319: 3313: 3307: 3296: 3295: 3293: 3292: 3283:. Archived from 3277: 3271: 3267: 3261: 3255: 3240: 3234: 3228: 3222: 3213: 3207: 3198: 3192: 3186: 3180: 3174: 3168: 3162: 3156: 3150: 3144: 3135: 3129: 3123: 3119: 3113: 3110: 3104: 3098: 3092: 3086: 3080: 3074: 3068: 3062: 3056: 3053: 3047: 3041: 3035: 3029: 3023: 3017: 3011: 3005: 2999: 2995: 2989: 2983: 2977: 2971: 2965: 2959: 2953: 2947: 2941: 2935: 2926: 2920: 2911: 2905: 2899: 2893: 2887: 2881: 2875: 2869: 2863: 2857: 2851: 2845: 2836: 2830: 2824: 2818: 2812: 2806: 2800: 2791: 2785: 2779: 2773: 2767: 2758: 2752: 2741: 2735: 2729: 2723: 2717: 2711: 2702: 2696: 2690: 2684: 2678: 2672: 2666: 2660: 2654: 2648: 2642: 2636: 2630: 2624: 2618: 2617:, pp. 5–19. 2612: 2601: 2595: 2589: 2583: 2577: 2571: 2565: 2559: 2553: 2547: 2538: 2532: 2517: 2504: 2479: 2466: 2460: 2452: 2443: 2433: 2423: 2417: 2409: 2390: 2384: 2376: 2367: 2361: 2351: 2345: 2337: 2323: 2317: 2309: 2295: 2289: 2281: 2272: 2263: 2254: 2245: 2236: 2225: 2219: 2211: 2200: 2189: 2182:"Georgy Yakulov" 2163: 2160: 2149: 2146: 2135: 2132: 2121: 2118: 2107: 2104: 2093: 2090: 2079: 2076: 2061: 2058: 2047: 2044: 2033: 2030: 2019: 2016: 2005: 2002: 1991: 1988: 1977: 1974: 1960: 1957: 1939: 1936: 1921: 1918: 1907: 1904: 1893: 1890: 1879: 1876: 1865: 1862: 1851: 1848: 1834: 1831: 1820: 1817: 1806: 1803: 1792: 1789: 1778: 1775: 1764: 1761: 1747: 1744: 1730: 1727: 1560: 1298:Perm Art Gallery 1257:. In the 1930s, 1239:Mikhail Larionov 1188:horses harnessed 1080:M. Balanchivadze 954: 950: 882: 845:, production by 761:, production by 653:Tverskaya Street 587:V. Massalitinova 563:V. Shershenevich 533:performed here, 488:K. Boguslavskaya 468: 259:Kazimir Malevich 102: 67:28 December 1928 33: 19: 4645: 4644: 4640: 4639: 4638: 4636: 4635: 4634: 4600:Soviet painters 4565: 4564: 4545: 4540: 4539: 4531: 4527: 4519: 4515: 4507: 4503: 4495: 4491: 4483: 4479: 4471: 4467: 4459: 4455: 4447: 4443: 4435: 4431: 4423: 4419: 4414: 4410: 4402: 4398: 4390: 4386: 4378: 4374: 4366: 4357: 4349: 4345: 4337: 4333: 4325: 4321: 4313: 4309: 4304: 4300: 4294:Denisovsky 1983 4292: 4288: 4280: 4276: 4268: 4264: 4256: 4252: 4244: 4240: 4232: 4228: 4220: 4216: 4209: 4205: 4200: 4196: 4188: 4184: 4176: 4169: 4163:Aladzhalov 1971 4161: 4157: 4151:Aladzhalov 1971 4149: 4145: 4136: 4132: 4126:Denisovsky 1983 4124: 4120: 4114:Denisovsky 1983 4112: 4108: 4102:Aladzhalov 1971 4100: 4096: 4081: 4077: 4071:Aladzhalov 1971 4069: 4065: 4060: 4039: 4033:Aladzhalov 1971 4031: 4027: 4021:Aladzhalov 1971 4019: 4015: 4009:Aladzhalov 1971 4007: 4003: 3997: 3993: 3987:Aladzhalov 1971 3985: 3981: 3975:Aladzhalov 1971 3973: 3969: 3963:Aladzhalov 1971 3961: 3957: 3951:Aladzhalov 1971 3949: 3945: 3937: 3933: 3925: 3921: 3913: 3909: 3903:Aladzhalov 1971 3901: 3897: 3889: 3885: 3877: 3873: 3867:Aladzhalov 1971 3865: 3861: 3853: 3849: 3825: 3821: 3815:Aladzhalov 1971 3813: 3809: 3801: 3797: 3788: 3784: 3768: 3764: 3758:Aladzhalov 1971 3756: 3752: 3744: 3740: 3732: 3725: 3719:Aladzhalov 1971 3717: 3713: 3705: 3698: 3692:Aladzhalov 1971 3690: 3686: 3674: 3670: 3661: 3657: 3649: 3645: 3637: 3633: 3625: 3621: 3613: 3609: 3603:Aladzhalov 1971 3601: 3597: 3591:Aladzhalov 1971 3589: 3585: 3577: 3573: 3567:Aladzhalov 1971 3565: 3561: 3555: 3551: 3545:Wayback Machine 3536: 3532: 3527: 3523: 3517:Wayback Machine 3508: 3504: 3498:Wayback Machine 3489: 3485: 3479:Aladzhalov 1971 3477: 3473: 3467:Wayback Machine 3458: 3454: 3449: 3445: 3439:Wayback Machine 3430: 3426: 3420:Denisovsky 1983 3418: 3411: 3406: 3402: 3396:Wayback Machine 3386: 3382: 3374: 3370: 3364: 3360: 3352: 3348: 3342:Wayback Machine 3333: 3329: 3320: 3316: 3308: 3299: 3290: 3288: 3279: 3278: 3274: 3268: 3264: 3256: 3243: 3235: 3231: 3225:Denisovsky 1983 3223: 3216: 3208: 3201: 3195:Aladzhalov 1971 3193: 3189: 3183:Denisovsky 1983 3181: 3177: 3169: 3165: 3159:Aladzhalov 1971 3157: 3153: 3147:Aladzhalov 1971 3145: 3138: 3132:Aladzhalov 1971 3130: 3126: 3120: 3116: 3111: 3107: 3101:Aladzhalov 1971 3099: 3095: 3087: 3083: 3075: 3071: 3063: 3059: 3054: 3050: 3046:, p. XXXI. 3042: 3038: 3030: 3026: 3020:Denisovsky 1983 3018: 3014: 3008:Aladzhalov 1971 3006: 3002: 2996: 2992: 2984: 2980: 2972: 2968: 2962:Aladzhalov 1971 2960: 2956: 2948: 2944: 2936: 2929: 2921: 2914: 2906: 2902: 2896:Aladzhalov 1971 2894: 2890: 2882: 2878: 2870: 2866: 2858: 2854: 2846: 2839: 2831: 2827: 2819: 2815: 2807: 2803: 2792: 2788: 2780: 2776: 2768: 2761: 2753: 2744: 2738:Aladzhalov 1971 2736: 2732: 2724: 2720: 2712: 2705: 2697: 2693: 2685: 2681: 2673: 2669: 2663:Aladzhalov 1971 2661: 2657: 2649: 2645: 2639:Aladzhalov 1971 2637: 2633: 2625: 2621: 2613: 2604: 2598:Aladzhalov 1971 2596: 2592: 2586:Aladzhalov 1971 2584: 2580: 2574:Aladzhalov 1971 2572: 2568: 2560: 2556: 2548: 2541: 2533: 2529: 2524: 2507: 2482: 2469: 2453: 2446: 2431: 2426: 2410: 2406: 2393: 2377: 2370: 2359: 2354: 2338: 2331:Livshits B. K. 2326: 2310: 2298: 2282: 2275: 2266: 2257: 2248: 2239: 2228: 2212: 2203: 2192: 2176: 2173: 2166: 2161: 2152: 2147: 2138: 2133: 2124: 2119: 2110: 2105: 2096: 2091: 2082: 2077: 2068: 2059: 2050: 2045: 2036: 2031: 2022: 2017: 2008: 2003: 1994: 1989: 1980: 1975: 1966: 1958: 1949: 1942: 1937: 1928: 1919: 1910: 1905: 1896: 1891: 1882: 1877: 1868: 1863: 1854: 1849: 1840: 1832: 1823: 1818: 1809: 1804: 1795: 1790: 1781: 1776: 1767: 1762: 1753: 1745: 1736: 1728: 1719: 1714: 1569: 1561: 1558:Georgy Yakulov 1556: 1491:epistemological 1482: 1400: 1363: 1358: 1329:Bolshoi Theater 1286:Pompidou Center 1259:Robert Delaunay 1234: 1217: 1108: 952: 948: 883: 878: 843:Bolshoi Theater 759:Kamerny Theater 722:Tirso de Molina 623:Chamber Theater 561:often visited, 469: 463: 439: 431:First World War 336:, K. Malevich, 322:P. Konchalovsky 268:Street (1909). 227: 198:boarding school 174: 169: 161:Robert Delaunay 157:constructivism) 97: 73: 68: 59: 50: 49:14 January 1884 41: 39: 24: 17: 12: 11: 5: 4643: 4641: 4633: 4632: 4627: 4622: 4617: 4612: 4607: 4602: 4597: 4592: 4587: 4582: 4577: 4567: 4566: 4563: 4562: 4557: 4552: 4544: 4541: 4538: 4537: 4535:, p. 265. 4525: 4523:, p. 284. 4521:Kovalenko 2012 4513: 4501: 4489: 4487:, p. 257. 4477: 4465: 4453: 4441: 4439:, p. 297. 4437:Kovalenko 2012 4429: 4425:Kovalenko 2012 4417: 4408: 4396: 4384: 4382:, p. 244. 4372: 4355: 4343: 4331: 4319: 4317:, p. 290. 4315:Kovalenko 2012 4307: 4298: 4286: 4274: 4262: 4260:, p. 539. 4250: 4248:, p. 197. 4238: 4234:Kovalenko 2012 4226: 4224:, p. 296. 4222:Kovalenko 2012 4214: 4203: 4194: 4182: 4167: 4165:, p. 286. 4155: 4143: 4130: 4118: 4116:, p. 206. 4106: 4094: 4075: 4063: 4037: 4025: 4013: 4001: 3991: 3979: 3967: 3955: 3943: 3941:, p. 552. 3931: 3927:Kovalenko 2012 3919: 3907: 3905:, p. 312. 3895: 3893:, p. 170. 3883: 3881:, p. 162. 3871: 3859: 3857:, p. 157. 3847: 3827:D. Shterenberg 3819: 3807: 3805:, p. 167. 3795: 3782: 3762: 3750: 3738: 3723: 3711: 3696: 3684: 3668: 3655: 3643: 3641:, p. 551. 3631: 3619: 3607: 3595: 3593:, p. 106. 3583: 3571: 3569:, p. 111. 3559: 3549: 3530: 3521: 3502: 3483: 3481:, p. 311. 3471: 3452: 3443: 3424: 3422:, p. 205. 3409: 3400: 3380: 3368: 3358: 3356:, p. 264. 3346: 3327: 3314: 3312:, p. 241. 3297: 3272: 3262: 3241: 3229: 3227:, p. 204. 3214: 3199: 3187: 3185:, p. 201. 3175: 3163: 3151: 3149:, p. 308. 3136: 3124: 3114: 3105: 3093: 3081: 3079:, p. 261. 3069: 3067:, p. 649. 3057: 3048: 3036: 3034:, p. 546. 3024: 3022:, p. 202. 3012: 3000: 2990: 2978: 2966: 2954: 2942: 2940:, p. 540. 2927: 2912: 2900: 2888: 2884:Rodchenko A.M. 2876: 2864: 2862:, p. 676. 2852: 2850:, p. 468. 2837: 2835:, p. 679. 2825: 2813: 2801: 2786: 2774: 2772:, p. 678. 2759: 2742: 2730: 2718: 2703: 2691: 2679: 2667: 2655: 2643: 2631: 2619: 2602: 2590: 2578: 2566: 2554: 2539: 2537:, p. 245. 2526: 2525: 2523: 2520: 2519: 2518: 2505: 2480: 2467: 2444: 2436:Theater Issues 2424: 2404: 2391: 2368: 2352: 2324: 2300:Livshits, B.K. 2296: 2273: 2271:. p. 384. 2264: 2255: 2246: 2244:. p. 335. 2237: 2226: 2207:Georgy Yakulov 2201: 2190: 2178:Tairov, A. Ya. 2172: 2169: 2168: 2167: 2162: 2155: 2153: 2148: 2141: 2139: 2134: 2127: 2125: 2120: 2113: 2111: 2106: 2099: 2097: 2092: 2085: 2083: 2078: 2071: 2069: 2060: 2053: 2051: 2046: 2039: 2037: 2032: 2025: 2023: 2018: 2011: 2009: 2004: 1997: 1995: 1990: 1983: 1981: 1976: 1969: 1967: 1959: 1952: 1948: 1945: 1944: 1943: 1938: 1931: 1929: 1920: 1913: 1911: 1906: 1899: 1897: 1892: 1885: 1883: 1878: 1871: 1869: 1864: 1857: 1855: 1850: 1843: 1841: 1833: 1826: 1824: 1819: 1812: 1810: 1805: 1798: 1796: 1791: 1784: 1782: 1777: 1770: 1768: 1763: 1756: 1754: 1746: 1739: 1737: 1729: 1722: 1718: 1715: 1713: 1710: 1709: 1708: 1705: 1701: 1698: 1695: 1692: 1689: 1682: 1679: 1676: 1673: 1670: 1667: 1664: 1661: 1658: 1655: 1652: 1649: 1646: 1643: 1640: 1637: 1634: 1631: 1628: 1625: 1622: 1619: 1616: 1613: 1610: 1607: 1604: 1568: 1565: 1554: 1481: 1478: 1470:"King Oedipus" 1439:mise-en-scenes 1399: 1396: 1362: 1361:Easel painting 1359: 1357: 1354: 1290:Russian Museum 1251:Sonia Delaunay 1233: 1230: 1229: 1228: 1221: 1216: 1213: 1164:V. Anjaparidze 1160:L. Gudiashvili 1132:A. Lunacharsky 1107: 1104: 1100:Studio Theater 1060:A. Shirvanzade 1041:Yesenin Museum 1003:"Steel Gallop" 906:A. Lunacharsky 876: 795:, operetta by 767:"King Oedipus" 733:W. Shakespeare 657:Isadora Duncan 567:D. Shterenberg 551:Sun. Meyerhold 531:A. Lunacharsky 484:constructivist 465:Georgy Yakulov 461: 452:Kuznetsky Most 438: 435: 393:G. Apollinaire 318:"World of Art" 226: 223: 173: 170: 168: 165: 129:graphic artist 93: 92: 79: 75: 74: 69: 65: 61: 60: 57:Russian Empire 51: 47: 43: 42: 34: 26: 25: 22: 15: 13: 10: 9: 6: 4: 3: 2: 4642: 4631: 4628: 4626: 4623: 4621: 4618: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4598: 4596: 4593: 4591: 4588: 4586: 4583: 4581: 4578: 4576: 4573: 4572: 4570: 4561: 4558: 4556: 4553: 4550: 4547: 4546: 4542: 4534: 4529: 4526: 4522: 4517: 4514: 4510: 4505: 4502: 4499:, p. 99. 4498: 4497:Badalyan 2010 4493: 4490: 4486: 4481: 4478: 4474: 4469: 4466: 4462: 4457: 4454: 4450: 4445: 4442: 4438: 4433: 4430: 4426: 4421: 4418: 4412: 4409: 4405: 4400: 4397: 4393: 4392:Sidorina 2012 4388: 4385: 4381: 4376: 4373: 4369: 4364: 4362: 4360: 4356: 4352: 4351:Sidorina 2012 4347: 4344: 4340: 4335: 4332: 4328: 4323: 4320: 4316: 4311: 4308: 4302: 4299: 4295: 4290: 4287: 4283: 4278: 4275: 4272:, p. 11. 4271: 4266: 4263: 4259: 4258:Sidorina 2012 4254: 4251: 4247: 4242: 4239: 4235: 4230: 4227: 4223: 4218: 4215: 4212: 4207: 4204: 4198: 4195: 4191: 4186: 4183: 4180:, p. 19. 4179: 4174: 4172: 4168: 4164: 4159: 4156: 4152: 4147: 4144: 4140: 4134: 4131: 4127: 4122: 4119: 4115: 4110: 4107: 4103: 4098: 4095: 4091: 4087: 4084: 4079: 4076: 4072: 4067: 4064: 4058: 4056: 4054: 4052: 4050: 4048: 4046: 4044: 4042: 4038: 4034: 4029: 4026: 4022: 4017: 4014: 4010: 4005: 4002: 3995: 3992: 3988: 3983: 3980: 3976: 3971: 3968: 3964: 3959: 3956: 3952: 3947: 3944: 3940: 3939:Sidorina 2012 3935: 3932: 3928: 3923: 3920: 3916: 3915:Sidorina 2012 3911: 3908: 3904: 3899: 3896: 3892: 3887: 3884: 3880: 3875: 3872: 3868: 3863: 3860: 3856: 3851: 3848: 3844: 3840: 3836: 3832: 3828: 3823: 3820: 3816: 3811: 3808: 3804: 3799: 3796: 3792: 3786: 3783: 3779: 3775: 3773: 3766: 3763: 3759: 3754: 3751: 3747: 3742: 3739: 3735: 3730: 3728: 3724: 3720: 3715: 3712: 3708: 3703: 3701: 3697: 3693: 3688: 3685: 3681: 3677: 3672: 3669: 3665: 3662:A project by 3659: 3656: 3652: 3647: 3644: 3640: 3639:Sidorina 2012 3635: 3632: 3628: 3623: 3620: 3616: 3611: 3608: 3604: 3599: 3596: 3592: 3587: 3584: 3580: 3575: 3572: 3568: 3563: 3560: 3553: 3550: 3546: 3542: 3539: 3534: 3531: 3525: 3522: 3518: 3514: 3511: 3506: 3503: 3499: 3495: 3492: 3487: 3484: 3480: 3475: 3472: 3468: 3464: 3461: 3456: 3453: 3447: 3444: 3440: 3436: 3433: 3428: 3425: 3421: 3416: 3414: 3410: 3404: 3401: 3397: 3393: 3390: 3384: 3381: 3377: 3372: 3369: 3362: 3359: 3355: 3350: 3347: 3343: 3339: 3336: 3331: 3328: 3324: 3318: 3315: 3311: 3306: 3304: 3302: 3298: 3287:on 2019-06-22 3286: 3282: 3276: 3273: 3266: 3263: 3259: 3254: 3252: 3250: 3248: 3246: 3242: 3238: 3233: 3230: 3226: 3221: 3219: 3215: 3211: 3206: 3204: 3200: 3196: 3191: 3188: 3184: 3179: 3176: 3173:, p. 14. 3172: 3167: 3164: 3160: 3155: 3152: 3148: 3143: 3141: 3137: 3133: 3128: 3125: 3118: 3115: 3109: 3106: 3103:, p. 58. 3102: 3097: 3094: 3091:, p. 75. 3090: 3085: 3082: 3078: 3073: 3070: 3066: 3065:Sidorina 2012 3061: 3058: 3052: 3049: 3045: 3040: 3037: 3033: 3032:Sidorina 2012 3028: 3025: 3021: 3016: 3013: 3010:, p. 57. 3009: 3004: 3001: 2994: 2991: 2987: 2986:Sidorina 2012 2982: 2979: 2975: 2974:Sidorina 2012 2970: 2967: 2964:, p. 56. 2963: 2958: 2955: 2951: 2946: 2943: 2939: 2938:Sidorina 2012 2934: 2932: 2928: 2924: 2919: 2917: 2913: 2909: 2904: 2901: 2897: 2892: 2889: 2885: 2880: 2877: 2873: 2868: 2865: 2861: 2856: 2853: 2849: 2848:Livshits 1989 2844: 2842: 2838: 2834: 2829: 2826: 2822: 2821:Livshits 1989 2817: 2814: 2810: 2805: 2802: 2798: 2796: 2790: 2787: 2783: 2778: 2775: 2771: 2766: 2764: 2760: 2756: 2751: 2749: 2747: 2743: 2740:, p. 43. 2739: 2734: 2731: 2727: 2722: 2719: 2716:, p. 73. 2715: 2710: 2708: 2704: 2700: 2695: 2692: 2688: 2683: 2680: 2676: 2671: 2668: 2664: 2659: 2656: 2652: 2647: 2644: 2640: 2635: 2632: 2629:, p. 73. 2628: 2623: 2620: 2616: 2611: 2609: 2607: 2603: 2599: 2594: 2591: 2587: 2582: 2579: 2575: 2570: 2567: 2563: 2558: 2555: 2552:, p. 74. 2551: 2546: 2544: 2540: 2536: 2531: 2528: 2521: 2515: 2514:Three Oranges 2511: 2506: 2502: 2498: 2494: 2490: 2486: 2481: 2477: 2473: 2468: 2464: 2458: 2450: 2445: 2441: 2437: 2430: 2425: 2421: 2415: 2407: 2401: 2397: 2392: 2388: 2382: 2374: 2369: 2365: 2358: 2353: 2349: 2343: 2335: 2334: 2330: 2325: 2321: 2315: 2307: 2306: 2301: 2297: 2293: 2287: 2279: 2274: 2270: 2265: 2261: 2256: 2252: 2247: 2243: 2238: 2234: 2233: 2227: 2223: 2217: 2209: 2208: 2202: 2198: 2197: 2191: 2187: 2183: 2179: 2175: 2174: 2170: 2159: 2154: 2145: 2140: 2131: 2126: 2117: 2112: 2103: 2098: 2089: 2084: 2075: 2070: 2065: 2064:carnival bout 2057: 2052: 2043: 2038: 2029: 2024: 2015: 2010: 2001: 1996: 1987: 1982: 1973: 1968: 1964: 1956: 1951: 1946: 1935: 1930: 1925: 1917: 1912: 1903: 1898: 1889: 1884: 1875: 1870: 1861: 1856: 1847: 1842: 1838: 1830: 1825: 1816: 1811: 1802: 1797: 1788: 1783: 1774: 1769: 1760: 1755: 1751: 1743: 1738: 1734: 1726: 1721: 1716: 1711: 1706: 1702: 1699: 1696: 1693: 1690: 1687: 1683: 1680: 1677: 1674: 1671: 1668: 1665: 1662: 1659: 1656: 1653: 1650: 1647: 1644: 1641: 1638: 1635: 1632: 1629: 1626: 1623: 1620: 1617: 1614: 1611: 1608: 1605: 1602: 1601: 1598: 1594: 1591:"Portrait of 1589: 1581: 1573: 1566: 1564: 1559: 1553: 1551: 1547: 1541: 1538: 1533: 1531: 1526: 1523: 1521: 1515: 1513: 1507: 1505: 1501: 1497: 1492: 1488: 1479: 1477: 1475: 1471: 1467: 1462: 1454: 1450: 1448: 1444: 1440: 1434: 1431: 1427: 1425: 1421: 1416: 1414: 1404: 1397: 1395: 1393: 1383: 1379: 1375: 1367: 1360: 1355: 1353: 1349: 1347: 1342: 1338: 1334: 1330: 1326: 1318: 1313: 1309: 1307: 1303: 1299: 1295: 1291: 1287: 1282: 1280: 1276: 1272: 1268: 1264: 1260: 1256: 1252: 1248: 1244: 1240: 1231: 1226: 1222: 1219: 1218: 1214: 1212: 1209: 1204: 1201: 1198: 1193: 1189: 1179: 1175: 1171: 1169: 1165: 1161: 1157: 1153: 1149: 1145: 1141: 1137: 1133: 1128: 1124: 1122: 1112: 1105: 1103: 1101: 1097: 1093: 1092:N. Goncharova 1089: 1083: 1081: 1077: 1073: 1069: 1065: 1061: 1057: 1053: 1049: 1042: 1037: 1033: 1031: 1027: 1023: 1018: 1016: 1012: 1008: 1004: 1000: 990: 986: 983: 981: 975: 973: 969: 964: 962: 958: 955: 946: 941: 932: 928: 926: 922: 918: 915: 909: 907: 903: 894: 890: 886: 881: 875: 871: 868: 866: 861: 859: 855: 850: 848: 847:B. Sushkevich 844: 840: 835: 833: 829: 825: 821: 817: 813: 804: 800: 798: 794: 789: 787: 783: 778: 776: 772: 768: 764: 760: 756: 751: 749: 748:Vs. Meyerhold 745: 740: 738: 734: 730: 725: 723: 714: 710: 706: 703: 699: 692: 687: 683: 681: 677: 673: 669: 664: 660: 658: 654: 650: 646: 642: 635: 630: 626: 624: 620: 616: 615:A. Schnitzler 612: 608: 604: 599: 596: 592: 588: 584: 580: 576: 572: 568: 564: 560: 556: 552: 548: 544: 540: 539:V. Mayakovsky 536: 532: 527: 521: 516: 512: 509: 505: 501: 497: 493: 489: 485: 476: 472: 466: 460: 455: 453: 449: 448:Merchant Club 444: 436: 434: 432: 427: 425: 422:, "yellow" - 421: 417: 408: 407:E. Kruglikova 404: 400: 398: 394: 388: 386: 382: 378: 374: 370: 366: 362: 358: 354: 345: 341: 339: 335: 334:N. Goncharova 331: 327: 323: 319: 315: 311: 305: 303: 299: 295: 291: 287: 283: 277: 271: 266: 262: 260: 256: 252: 248: 244: 243:Pavel Muratov 236: 231: 224: 222: 220: 216: 212: 208: 204: 199: 195: 190: 183: 178: 171: 166: 164: 162: 158: 154: 150: 146: 142: 138: 134: 131:, decorator, 130: 126: 122: 119:) - Armenian 118: 114: 110: 91: 87: 83: 80: 78:Occupation(s) 76: 72: 66: 62: 58: 54: 48: 44: 37: 32: 27: 20: 4528: 4516: 4504: 4492: 4480: 4468: 4456: 4448: 4444: 4432: 4420: 4411: 4399: 4387: 4375: 4368:Kostina 1979 4346: 4334: 4327:Kostina 1979 4322: 4310: 4301: 4289: 4277: 4270:Kostina 1979 4265: 4253: 4246:Kostina 1979 4241: 4229: 4217: 4206: 4197: 4185: 4178:Kostina 1979 4158: 4146: 4133: 4121: 4109: 4097: 4082: 4078: 4066: 4028: 4016: 4004: 3994: 3982: 3970: 3958: 3946: 3934: 3922: 3910: 3898: 3886: 3874: 3862: 3850: 3843:S. Gerasimov 3831:A. Rodchenko 3822: 3810: 3798: 3791:S. Prokofiev 3785: 3770: 3765: 3753: 3745: 3741: 3734:Kostina 1979 3714: 3687: 3671: 3664:F.O.Shekhtel 3658: 3651:Kostina 1979 3646: 3634: 3627:Kostina 1979 3622: 3615:Marcadé 1972 3610: 3598: 3586: 3578: 3574: 3562: 3552: 3533: 3524: 3505: 3486: 3474: 3455: 3446: 3427: 3403: 3383: 3371: 3361: 3349: 3330: 3317: 3289:. Retrieved 3285:the original 3275: 3265: 3258:Kostina 1979 3236: 3232: 3210:Kostina 1979 3190: 3178: 3171:Kostina 1979 3166: 3154: 3127: 3117: 3108: 3096: 3089:Kostina 1979 3084: 3072: 3060: 3051: 3039: 3027: 3015: 3003: 2993: 2981: 2969: 2957: 2950:Kostina 1979 2945: 2923:Kostina 1979 2908:Kostina 1979 2903: 2891: 2883: 2879: 2867: 2855: 2828: 2816: 2804: 2794: 2789: 2782:Kostina 1979 2777: 2733: 2721: 2714:Kostina 1979 2694: 2682: 2674: 2670: 2658: 2646: 2634: 2622: 2615:Kostina 1979 2593: 2581: 2569: 2557: 2530: 2513: 2492: 2488: 2475: 2448: 2439: 2435: 2395: 2372: 2363: 2332: 2329: 2304: 2277: 2268: 2259: 2250: 2241: 2230: 2206: 2195: 2185: 2062:Sketch of a 1926:, 1920, NGA 1563: 1557: 1543: 1534: 1527: 1525: 1517: 1508: 1483: 1463: 1459: 1443:"Steel Skok" 1435: 1433: 1429: 1417: 1409: 1388: 1376: 1372: 1350: 1322: 1283: 1279:S. Prokofiev 1235: 1227:(1927-2007). 1205: 1203: 1185: 1172: 1168:Y. Nikoladze 1144:M. Shaginyan 1129: 1125: 1117: 1084: 1072:A. Akhmeteli 1045: 1019: 1007:S. Prokofiev 999:S. Diaghilev 995: 985: 977: 972:Grand Palais 965: 959: 937: 917:N. Podvoisky 910: 899: 887: 885: 879: 873: 869: 862: 851: 839:J. Offenbach 836: 816:V. Mchedelov 809: 790: 784:", opera by 779: 752: 742:1919-1920: " 741: 737:I. Khudoleev 726: 719: 707: 695: 672:P. Kuznetsov 665: 661: 638: 607:Commissariat 603:variety show 600: 559:A. Mariengof 528: 524: 508:A. Rodchenko 500:N. Udaltsova 494:, L. Golov, 481: 471: 464: 457: 440: 428: 412: 389: 350: 306: 290:P. Kuznetsov 278: 274: 239: 186: 137:art theorist 133:set designer 108: 107: 4580:1928 deaths 4575:1884 births 4533:Ivanov 2014 4509:Ivanov 2014 4485:Ivanov 2014 4380:Ivanov 2014 3682:" (No. 30). 3376:Ivanov 2014 3354:Ivanov 2014 3310:Ivanov 2014 3077:Ivanov 2014 2699:Tairov 1929 2675:P. Muratov 2627:Tairov 1929 2550:Tairov 1929 2535:Ivanov 2014 1924:Rurik Ivnev 1684:Picasso // 1512:kinetic art 1504:simultanism 1500:R. Delaunay 1496:M. Larionov 1487:B. Livshits 1413:scenography 1337:Paris Opera 1267:B. Sandrard 1208:Novodevichy 1140:A. Tamanian 1088:M. Larionov 1070:(staged by 1048:A. Shchusev 914:Sportintern 680:A. Arkhipov 676:V. Favorsky 645:Rurik Ivnev 621:) - at the 571:A. Shchusev 547:V. Kamensky 504:A. Osmerkin 381:R. Delaunay 330:M. Larionov 326:A. Lentulov 310:"Secession" 298:S. Sudeikin 282:"Blue Rose" 172:Early years 141:avant-garde 90:scenography 4569:Categories 4473:Vakar 2016 4449:Tairov A. 4404:Efros 1934 4339:Vakar 2016 4282:Vakar 2016 4190:Vakar 2016 3746:Yesenin S. 3707:Vakar 2016 3323:tarantella 3291:2021-05-03 3044:Efros 1934 2872:Vakar 2016 2795:Elsner V. 2755:Vakar 2016 2726:Vakar 2016 2687:Vakar 2016 2651:Vakar 2016 2562:Vakar 2016 2522:References 2478:: 138–157. 2476:Our Legacy 2442:: 274–303. 2366:: 152–192. 2171:Literature 1595:" (1922). 1550:classicism 1275:M. Chagall 1263:P. Picasso 1156:T. Tabidze 1152:Sh. Eliava 1148:E. Lansere 1096:R. Simonov 1068:P. Mérimée 1011:L. Massine 961:S. Yesenin 832:M. Mordkin 824:Eugene Sue 619:P. Claudel 583:I. Moskvin 579:V.Kachalov 543:S. Yesenin 535:V. Bryusov 355:(visiting 294:N. Sapunov 3835:A. Vesnin 3789:Composer 2457:cite book 2414:cite book 2381:cite book 2342:cite book 2314:cite book 2286:cite book 2232:Iskusstvo 2216:cite book 1546:duncanism 1537:Diaghilev 1447:Prokofiev 1420:Meyerhold 1341:B. Kokhno 1317:A. Koonen 1136:M. Saryan 921:V. Schuko 858:King Lear 812:G. Kaiser 786:R. Wagner 771:Sophocles 763:A. Tairov 649:Picasso's 595:A. Koonen 555:A. Tairov 496:V. Tatlin 302:N. Krymov 286:M. Saryan 255:modernism 203:K.F. Yuon 167:Biography 153:imaginism 4139:Izvestia 3839:N. Punin 3541:Archived 3513:Archived 3494:Archived 3463:Archived 3435:Archived 3392:Archived 3366:241,262. 3338:Archived 3237:Penguin 2495:: 5–23. 2302:(1989). 2235:: 37–43. 2188:: 73–77. 2180:(1929). 1704:241–271. 1555:— 1520:metering 1356:Creation 1331:and the 980:Art Deco 877:— 854:G. Yaron 828:"Habima" 797:C. Lecoq 641:imagists 591:A. Dikiy 462:— 365:Florence 338:A. Exter 211:Caucasus 149:futurism 86:graphics 82:painting 3680:Ogonyok 3122:built). 2516:: 5–23. 1947:Theater 1712:Gallery 1686:Ogoniok 1466:tragedy 1339:in the 1271:A. Glez 1121:Dilijan 1098:at his 1076:cantata 1052:Armenia 1022:Yerevan 780:1921: " 727:1919: " 702:OBMOKhU 670:, with 420:Georgia 395:in the 125:painter 117:Yerevan 71:Yerevan 2402: 1474:Hamlet 1424:Tairov 1215:Family 1026:Tiflis 782:Rienzi 744:Hamlet 385:Berlin 357:Venice 314:Vienna 219:Harbin 194:Moscow 189:lawyer 145:cubism 121:artist 113:Tiflis 53:Tiflis 4543:Links 3270:p.308 2432:(PDF) 2360:(PDF) 1922:Poet 1530:wheel 1346:RGALI 1192:coats 953:] 949:[ 902:RABIS 731:" by 424:India 416:China 377:Paris 369:Siena 361:Padua 353:Italy 182:RGALI 2998:648. 2463:link 2420:link 2400:ISBN 2387:link 2348:link 2320:link 2292:link 2280:. M. 2222:link 1241:and 1090:and 1024:and 940:Baku 856:); " 373:Rome 371:and 251:East 247:Vesy 64:Died 46:Born 4088:// 3999:33. 2497:doi 2440:1–2 1750:NGA 1078:by 769:by 765:); 312:in 4571:: 4358:^ 4170:^ 4040:^ 3837:, 3726:^ 3699:^ 3412:^ 3300:^ 3244:^ 3217:^ 3202:^ 3139:^ 2930:^ 2915:^ 2840:^ 2762:^ 2745:^ 2706:^ 2605:^ 2542:^ 2512:. 2493:13 2491:. 2487:. 2474:. 2459:}} 2455:{{ 2438:. 2434:. 2416:}} 2412:{{ 2383:}} 2379:{{ 2362:. 2344:}} 2340:{{ 2316:}} 2312:{{ 2288:}} 2284:{{ 2218:}} 2214:{{ 2184:. 1552:". 1514:: 1348:. 1300:, 1296:, 1292:, 1288:, 1277:, 1273:, 1269:, 1265:, 1170:. 1166:, 1162:, 1158:, 1154:, 1146:, 1142:, 1138:, 951:90 678:, 659:. 625:. 593:, 589:, 585:, 581:, 577:, 573:, 565:, 557:, 553:, 549:, 545:, 541:, 537:, 498:, 490:, 367:, 363:, 359:, 332:, 328:, 324:, 304:. 300:, 296:, 292:, 288:, 284:- 163:. 155:, 151:, 147:, 135:, 127:, 88:, 84:, 55:, 38:. 3294:. 2503:. 2499:: 2465:) 2422:) 2408:. 2389:) 2350:) 2322:) 2294:) 2262:. 2253:. 2224:) 826:( 773:( 757:(

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Index