Les Demoiselles d Avignon: five young women that changed modern art forever. Faces seen simultaneously from the front and in profile, angular bodies whose once voluptuous feminine forms disappear behind asymmetric lines-with this painting, Picasso revolutionised the entire history of painting. Cubism was thus born in 1907.Transforming natural forms into cylinders and cubes, painters like Juan Gris and Robert Delaunay, driven by Braque and Picasso, imposed a new vision upon the world, in total opposition to the principles of the Impressionists. Largely diffused in Europe, Cubism developed rapidly in successive phases that brought art history to all the richness of the 20th century: from the futurism of Boccioni to the abstraction of Kandinsky, from the suprematism of Malevich to the constructivism of Tatlin. Linking the core text of Guillaume Apollinaire with the studies of Dr. Dorothea Eimert, this work offers a new interpretation of modernity s crucial moment, and permits the reader to rediscover, through their biographies, the principal representatives of the movement.

Analyzing the crucial period of the Cuban Revolution from 1959 to 1961, Samuel Farber challenges dominant scholarly and popular views of the revolution's sources, shape, and historical trajectory. Unlike many observers, who treat Cuba's revolutionary leaders as having merely reacted to U.S. policies or domestic socioeconomic conditions, Farber shows that revolutionary leaders, while acting under serious constraints, were nevertheless autonomous agents pursuing their own independent ideological visions, although not necessarily according to a master plan. Exploring how historical conflicts between U.S. and Cuban interests colored the reactions of both nations' leaders after the overthrow of Fulgencio Batista, Farber argues that the structure of Cuba's economy and politics in the first half of the twentieth century made the island ripe for radical social and economic change, and the ascendant Soviet Union was on hand to provide early assistance. Taking advantage of recently declassified U.S. and Soviet documents as well as biographical and narrative literature from Cuba, Farber focuses on three key years to explain how the Cuban rebellion rapidly evolved from a multiclass, antidictatorial movement into a full-fledged social revolution.

In this book one can find many artworks created by Picasso between 1881 and 1914. The first style of the artist was influenced by the works of El Greco, Munch and Toulouse-Lautrec, artists that he discovered when he was a student in Barcelona. Picasso, fascinated by the psychological expression during his Blue period (1901-1904), expresses his own mental misery: his genre paintings, still-lifes and portraits were full of melancholy. Later, Picasso began to paint acrobats during his Circus period. After his voyage to Paris, in 1904, his aestheticism evolved considerably. Cezanne’s influence and Spanish culture led him to Cubism, which is characterised by the multiple points of view over the surface of the painting. Apart from a selection of Picasso’s first paintings, this book presents several drawings, sculptures and photographs.

In the predawn darkness of January 1, 1959, an airplane lifted off from an airstrip at Camp Columbia, a military base located on the outskirts of Havana, Cuba. Aboard the aircraft were Fulgencio Batista y Zaldívar and members of his family. Hours earlier, Batista had resigned as president of Cuba. He had decided to step down when he heard from his military commanders that Cuba’s demoralized army could no longer prevent revolutionaries from seizing Santa Clara, a key town in central Cuba. Before departing, Batista named Supreme Court Justice Carlos Modesto Piedra as Cuba’s new president. He also handed over command of the military to General Eulogio Cantillo.

Микола Миколайович Аркас - український письменник, композитор, історик. Основна робота в галузі історії - «Історія України-Русі», написана українською мовою і видана в 1908 р. у Петербурзі. Книга була дуже популярна. За висловлюванням сучасників, «жодна українська книга, крім «Кобзаря», не мала такого успіху, як праця М. Аркаса». Той край, від Карпатських гір і аж до Кубані, звемо ми Україною, а наш народ, що там живе (про инших людей на Вкраїні буде мова далі) звемо Українцями. Се назва добра, стара й найзручніща - так звуть себе наші люде скрізь: чи в Київі, чи в Полтаві, чи в Одесі, чи у Львові (в Галичині), чи в Чернівцях (на Буковині). А проте се одні люде, з однією мовою, з однаковими звичаями, з тією самою культурою. Де-б не жив Українець: чи то на Кубані, чи в Чернигові, чи на Буковині на границі з Румунією - скрізь у нього така сама біла хата з садочком, однакові пісні, звичаї та обряд (наприклад весільний), однаково в хаті й коло хати, - одно слово, видно, що то ті самі люде - Українці, один народ Український, а не Польський, не Московський, чи инший який.

Т. 2 : Гречишные - Розоцветные. - 1980. - 144 с.

Атлас України й суміжних країв містить детальну інформацію про різні природньо-географічні, промислові та сільськогосподарські особливості України.

Ч. 2. - 323 с.

В брошюре рассказано о зарождении математики и её дедуктивном построении. Рассмотрены два примера --- теорема Пифагора и задача описания всех пифагоровых троек. Текст данной брошюры, вышедшей в серии "Библиотека "Математическое просвещение"", представляет собой обработку записи лекции, прочитанной лауреатом Государственной премии СССР академиком РАН Д.В. Аносовым 5 декабря 1999 г. для участников III Международного математического турнира старшеклассников "Кубок памяти А.Н. Колмогорова" --- школьников 8--11 классов.