The 16th figure of the Friendship of Peoples Fountain: why it remained

The Friendship of Peoples Fountain has 16 gilded sculptures of women: when it opened on 1 August 1954, the USSR had sixteen union republics. The sixteenth figure represented the Karelo-Finnish SSR. A law passed on 16 July 1956 transformed it into the Karelian Autonomous Republic within the Russian SFSR; the sculptural ensemble retained the arrangement conceived for the 1954 exhibition. The difference between the familiar figure of ‘fifteen’ and the number of sculptures reflects two different points in history, rather than a mistake by the fountain’s creators.

Three kinds of evidence help verify this answer: descriptions of the monument and its restoration, a government document from 1956, and details of the sculptures that can be seen at VDNKh today. They should be considered separately. The law establishes the change in the republic’s status; it says nothing about the fountain’s fate. Exhibition and restoration records show what the ensemble looked like then and how it remains today, but do not reveal every discussion among its creators.

Why does the Friendship of Nations Fountain have 16 sculptures?

The sixteen sculptures corresponded to the sixteen union republics that existed when the refurbished All-Union Agricultural Exhibition opened. The Karelo-Finnish SSR held that status at the time, which is why it was given its own figure in the circle of sculptures. This difference in dates gave rise to the mistaken idea that there was an extra female figure.

In the archival record of the law passed by the Supreme Soviet of the USSR on 16 July 1956 two actions are explicitly stated: the transformation of the Karelo-Finnish SSR into the Karelian ASSR and the incorporation of the new autonomous republic into the RSFSR. This change in status explains the difference between the circle of sculptures and the later political map. In 1954, one female figure represented a separate constituent republic of the Union; after the act was passed in 1956, that representation no longer matched the country’s administrative structure.

Dates matter more than arithmetic here. If we apply the later count of fifteen to 1954, one female figure seems superfluous. Set the fountain’s opening date alongside the date of the law, however, and she takes her place in the monument’s original design. This comparison does not require us to imagine that the sculptors foresaw later changes to borders and political status.

When did the Karelo-Finnish Republic become a Union republic?

The Karelo-Finnish SSR became a Union republic on 31 March 1940. The date and wording of the former autonomous republic’s change of status are recorded in the bibliographic record of the law of the Supreme Soviet of the USSR, published in the 1940 volume of the Bulletin of the Supreme Soviet of the USSR. By the time the fountain opened, it had held that status for fourteen years.

To answer the question, Karelia’s legal status matters more than the region’s familiar name. The Russian SFSR already had its own figure in the circle of sculptures. Until March 1940, the Karelian ASSR was an autonomous republic within it; the change gave the Karelo-Finnish SSR the status of a separate Union republic. This explains the place of one more young woman in the 1954 ensemble.

The change was reversed on 16 July 1956. The law passed that day is explicitly described as an act transforming the Karelo-Finnish SSR into the Karelian ASSR and incorporating the latter into the Russian SFSR. Following its adoption, the number of Union republics fell from sixteen to fifteen. The law did not address the fate of the bronze figure already in place: whether to preserve the artistic ensemble is a matter of the exhibition’s history, not the text of the state act.

The dates 1940 and 1956 mark the precise bounds of the sixteenth Union republic’s existence. For the fountain, the date to consider is the one between them: 1 August 1954. This sequence clears up a common confusion caused by applying a map from later decades to a mid-century monument. It also explains why the republic’s name on the monument should be given in its historical form, rather than replaced with the region’s modern name.

A popular description of the figures at VDNKh mentions a ‘1954 Constitution’. In 1954, the 1936 Constitution of the USSR, as subsequently amended, was in force. The Presidential Library holds editions of that document, while the archival record for the 1956 document places it within the constitutional history of 1936–1957. This inaccuracy makes no difference to the question of how many sculptures there are: what matters are the dates of the fountain’s opening and Karelia’s change of status.

Why is there a sheaf at the centre of the fountain?

The artists expressed the agricultural theme through the image of a harvest at the centre of the composition. According to a historical and cultural assessment published on the Moscow government’s website, the structure was called the ‘Main Fountain’ at the design stage, the ‘Golden Sheaf’ during construction, and ‘Friendship of Peoples’ shortly before it opened. The central motif thus reflected the exhibition’s purpose, while the figures of young women surrounding it gave the composition a meaning that encompassed the whole Soviet Union.

A historical and cultural assessment of the All-Union Agricultural Exhibition — VDNKh — All-Russian Exhibition Centre complex describes a large octagonal pool measuring 81 by 56 metres, with an oval fountain at its centre. Rising from a red granite base is a 7.4-metre-high sheaf of wheat, industrial hemp and sunflowers. The assessment explains how it was made: the relief depicting the plants was hammered from copper sheets over metal forms. Gilded bronze allegorical figures stand around the perimeter. Even without detailed knowledge of its history, the elements’ different roles are clear: the plants occupy the centre, while the young women form a circle around them.

The assessment credits Konstantin Topuridze and Grigory Konstantinovsky with the architectural design; engineer Vladimir Klyavin was responsible for the structure and hydraulic works. A team of artists created the sculptural decoration. According to the same assessment, the Mossvetproekt bureau designed the electrical systems, while a workshop of the USSR Academy of Arts produced the mosaics. The fountain should therefore be seen as a collaboration between architects, an engineer and sculptors: its sixteen figures form a single circle, which would have changed had one of them been removed after 1956. This conclusion follows from the design of the ensemble; the sources found contain no separate decision by the authorities to retain the Karelo-Finnish allegorical figure.

How does the fountain fit into the layout of the 1954 exhibition?

The Friendship of Peoples Fountain was installed in 1954 on the exhibition’s central axis, behind the Central Pavilion. From the new Main Entrance, visitors walked along the sides of the building to the square with the fountain ensemble. This position explains why the figure representing the Russian SFSR, according to VDNKh’s analysis, faces the Central Pavilion: she greeted visitors approaching along the avenue, rather than serving as an arbitrarily chosen starting point for counting the statues.

In 1954, the exhibition was still called the All-Union Agricultural Exhibition. In its historical overview of the Central Pavilion VDNKh notes that the new building was constructed between 1950 and 1954 to a design by the architects Shchuko and Stolyarov. The pavilion replaced a pre-war wooden building, giving the square a new architectural scale. The sheaf and plants on the fountain therefore reflected the theme of the exhibition for which the site was being reconstructed in those years, rather than an abstract slogan.

According to the same historical account, sixteen medallions bearing the coats of arms of the Soviet republics were placed on the façades of the Central Pavilion. Visitors saw the state emblems on the building and, by the fountain basin, human figures holding plants. The recurrence of the number sixteen in these neighbouring features shows that the republics were part of the design of the entire 1954 ensemble, rather than a later interpretation of the fountain.

The Central Pavilion’s two main façades face the entrance and the square with the fountain basin. According to a 2020 expert assessment, a cartouche bearing banners and the coat of arms of the USSR, clad in multicoloured smalt, stood at the centre of the façade composition. On the upper tier is a gilded spire crowned with sheaves of wheat and a star. Plant motifs appear both on the building and at the centre of the neighbouring square: harvest imagery sits alongside state emblems.

The composition’s monumental scale is designed to be appreciated from afar. VDNKh estimates the water surface area at approximately 3,800 square metres. The four-metre figures and 7.4-metre sheaf are visible from a distance, before visitors can make out the individual sprigs held by the young women. As they draw closer, the overall silhouette gives way to the details of the costumes and plants.

The exhibition offered another sculptural interpretation of the harvest theme. VDNKh describes the Stone Flower fountain, built in the same year, 1954, to a design by Konstantin Topuridze: sixteen bronze still-life sculptures depicting the produce of the Soviet republics were placed around it. Here, the fruit appears in separate compositions, while at the Friendship of Peoples fountain it is held by allegorical female figures. The comparison reveals a shared visual language across the exhibition, though the two fountains express it through different artistic means.

Who created the figures representing the republics, and why are they different?

A team of artists and specialists worked on the sixteen figures. A state historical and cultural expert assessment names the architects Konstantin Topuridze and Grigory Konstantinovsky, the engineer Vladimir Klyavin, and the sculptors Zinaida Bazhenova, L. A. Bazhanova, Alexei Teneta, Zoya Ryleeva and Iosif Chaikov. The division of labour is evident in the fountain itself: its overall composition, water system and sculptural treatment of the statues each called for different solutions.

The work of several artists becomes apparent when comparing a few of the figures in the figure-by-figure description of VDNKh. The Latvian figure’s brooch at her collar is particularly finely worked; the Tajik figure has many small braids, while large bunches of grapes lie at the Moldovan figure’s feet. These details fit the shared pose and scale but are rendered differently. The fountain retains the rhythm of a single circle without making its sixteen allegorical figures repetitions of the same model.

VDNKh attributes the statues representing Uzbekistan, Latvia and Kazakhstan to Zinaida Bazhenova. In the Uzbek figure, the sculptor brought together cotton, a headdress, braids and a billowing sleeve; the Latvian figure has different symbols: a bundle of ears of grain and a sakta, a traditional clasp. Attributions of individual sculptures to their creators should rest on evidence of this kind, rather than on similarities in faces or proportions: visual resemblance alone is insufficient in an ensemble created by several artists.

The official publication also names several models: it links the Georgian figure to Rodam Amiredjibi, the Turkmen figure to pianist Gozel Annamamedova, and the Estonian figure to ballerina Virve Kiple-Parsadanyan. VDNKh qualifies the last claim with the words “historians say”. Knowing who modelled for a figure helps us understand that the sculptures were based on real people, but it does not make any one figure a documentary portrait of an entire republic or a definitive example of its national dress.

The sculptors used bronze, with gold leaf applied to create the visible golden surface. According to VDNKh’s account of the 2019 restoration, each figure stands about four metres tall and weighs approximately 2.5 tonnes. The familiar description “golden girls” refers to their appearance, not the material from which the statues are made. This distinction matters for their conservation: the gilding can be renewed, whereas the loss of a bronze element requires a different kind of repair.

What do the sculptures of the Friendship of Nations Fountain symbolise?

The republics are represented through a combination of traditional dress and crops. An object held by a figure can sometimes offer a clue, but rarely identifies the republic with certainty on its own: ears of grain and cotton appear with several figures. To interpret each figure, you need to consider the plant, headdress, clothing and the statue’s place in the composition together. This combination reflects the exhibition’s aim in 1954: to present the republics’ agricultural production as a unified ensemble.

The official analysis of the sixteen figures at VDNKh gives specific examples. The sculpture representing the Russian SFSR faces the Central Pavilion and holds a sheaf of wheat. The Uzbek and Turkmen young women hold cotton; the Georgian young woman holds grapes. Flax and barley, flowers and oak leaves can be distinguished on the Lithuanian figure; the Latvian figure has a sakta, an ornament at the collar of her costume. The Belarusian allegorical figure holds flax and an apple. The plants have been chosen deliberately, but the recurrence of some crops shows the limits of a simple rule of ‘one crop, one republic’.

It is particularly easy to mistake an agricultural attribute for a precise ethnographic marker. That would be too strong a conclusion. The fountain depicts allegorical figures created for the exhibition: the artists chose recognisable symbols rather than attempting comprehensive portraits of each republic’s people or economy. Even the identities of the models are known for only some of the figures: materials from the Moscow Department of Cultural Heritage name three confirmed models. We therefore cannot confidently claim that the face of each of the sixteen sculptures resembles a particular person.

How can you tell the sixteen figures apart when the plants recur?

It is more reliable to compare combinations of features than to look for a single ‘signature’ crop for each young woman. VDNKh has described all sixteen allegorical figures and identified their plants, details of dress and certain features of their positions. This description lets you check a guess at the fountain; it also shows why a simple ‘crop–republic’ table would produce false matches.

Ears of grain and flax

The figure representing the Russian SFSR is recognisable by her sheaf of wheat and the way she faces the Central Pavilion. The Ukrainian figure holds ears of wheat alongside grapes and a sunflower, while a floral wreath with ribbons completes her costume. Grain also features in the Kazakh young woman’s depiction, but VDNKh specifically notes her feathered headdress. These three examples alone show that wheat signals an agricultural theme but does not identify a figure with certainty.

The Lithuanian allegorical figure holds flax and barley in one hand, and flowers and oak leaves in the other. The Belarusian figure holds flax and an apple. According to VDNKh’s description, she stands beside the figure representing the Russian SFSR, completing the circle. If a visitor recognises the apple and the neighbouring figure’s sheaf of wheat, they have two separate clues to check their identification. Flax alone could lead them to the Lithuanian figure.

The Latvian woman with a bundle of ears of grain offers another lesson in looking closely. At her collar, the sculptors depicted a sakta, a clasp that VDNKh describes as a traditional Latvian ornament. Like the neighbouring figures, the statue evokes agriculture; the small brooch adds a detail specific to her costume. It is almost impossible to make out from a distance, but up close it reveals how carefully the sculptors distinguished her from a generic figure holding wheat.

Cotton and similar silhouettes

The Uzbek, Tajik, Turkmen and Azerbaijani figures all hold cotton. For the Uzbek figure, VDNKh draws attention to her headdress, braids and wide embroidered sleeve. The Tajik figure has numerous fine braids; regilding them during the restoration took two days. The Turkmen figure is distinguished by the way her headdress is tied. Here, the plant alone offers little help in identifying the Azerbaijani allegory.

The Kyrgyz figure also features cotton, but here it is woven into a garland of flowers. VDNKh describes her two long braids and pointed headdress. Cotton thus appears in five figures, each time in a different combination, rather than presenting five separate ‘riddles’ with the same answer. Comparing the plant with each figure’s hairstyle and costume helps visitors avoid guesses based on modern assumptions about the regions’ economies.

Grapes, maize and forest

The Georgian and Armenian allegorical figures carry grapes. Water runoff damaged the leaves on the Armenian figure, and restorers reconstructed them from drawings. The Moldavian woman holds an ear of maize, while bunches of grapes lie at her feet. The position of the fruit helps distinguish the three figures when viewing them.

VDNKh describes the Estonian allegorical figure by her traditional clothing from Muhu Island and distinctive headdress. The Karelo-Finnish figure is distinguished by the flowers in her hands and the spruce tree at her feet. The spruce reflects a northern landscape theme that can also be seen at the separate Karelian pavilion. Both figures show the limits of identifying the allegories solely by widely grown field crops: the artists also drew on local plants, clothing and clues from each figure’s position.

A VDNKh publication includes an unusual note about the Moldavian and Kyrgyz figures: according to the exhibition, their positions were mixed up during installation and then left as they were. This detail cautions against identifying each statue solely by its presumed position on the state emblem. The source provides no installation records; the mix-up remains an account given by the institution, rather than a documented fact about the installation. The visible maize, grapes, cotton and headdresses offer more reliable clues.

How can you identify the figure of the Karelo-Finnish SSR?

According to VDNKh’s description, the Karelo-Finnish SSR is represented on the Friendship of Peoples Fountain by a figure holding flowers, with a small spruce tree by her feet. To identify her, simply compare these visible details with the publication; there is no need to guess from facial features or present-day national designations.

There is also an important distinction between documentary evidence and explanation. A VDNKh publication says that the Karelian figure was left in place to preserve the sculptural design. Her continued presence is confirmed by the ensemble itself and by later materials on its restoration. However, the sources we have found do not reveal what was discussed after the 1956 law was passed or who made the decision. Preserving the work’s artistic integrity is therefore a convincing explanation offered by the institution, rather than wording we have found in an order from the time.

Why was the Karelian figure preserved while the nearby coats of arms were changed?

After the 1956 law, the exhibition treated references to the Karelo-Finnish SSR differently across its various displays. The bronze figure remained in the circle around the fountain. On the façade of the republic’s separate pavilion, the coat of arms was replaced and the exhibition was renamed. This distinction matters: retaining the figure does not mean that all the symbols of the former republic were left untouched.

Pavilion No. 67 was built specifically for the Karelo-Finnish SSR in time for the exhibition’s opening in 1954. VDNKh’s historical overview names Farid Rekhmukov and Alexei Reznichenko as the architects. The façade features a six-column portico: the columns are clad in granite and raspberry-coloured Shoksha quartzite, with copper capitals. The assessment describes the building’s design as a reference to a traditional Karelian log house; its carved wooden pediment completes the theme. The spruce branches, birds and squirrels on the entrance doors evoke the same natural imagery as the small spruce tree at the feet of the Karelo-Finnish figure on the fountain.

The building’s wooden reliefs depict forestry, agriculture, animal husbandry and fishing. In a 2020 VDNKh publication, Lev Kardashev is named as the carver of the pediment; in a 2025 article, the carver is named as Lev Kardashov; a library catalogue records both forms of the surname. Sources attribute the carved entrance doors to Nikolai Chizhov. A few plants and a human figure were enough for the fountain; an entire building could depict the republic’s economy through several scenes. This contrast reflects the scale of each medium, rather than any difference in the ‘authenticity’ of the two representations.

The state historical and cultural assessment names sculptor B. A. Orlov as the creator of the gilded bronze emblem. His work was mounted on a shield crowning the wooden pediment; in 1957, the symbol of the Karelo-Finnish SSR was replaced with the coat of arms of the Russian SFSR. This happened after 16 July 1956. The year between the legal act and the replacement matters: the change in status and the physical alteration took place on different dates, so it would be wrong to claim that every symbol of the republic disappeared from the exhibition on the day the law was passed.

How long did it take to change the symbols?

The change in legal status and the alteration of the images were separate processes. Alongside the law on the transformation, the archival collection includes a separate law of 16 July 1956 amending Articles 13 and 22 of the Constitution: Article 13 listed the Union republics, while Article 22 defined the composition of the Russian SFSR. Both documents appeared in the same 1956 issue of the Gazette of the Supreme Soviet of the USSR, under different publication article numbers: 331 and 332. They confirm the new number of republics, but contain no instructions concerning the fountain that had already been built.

The coat of arms of the USSR required another legal act: a decree of the Presidium of the Supreme Soviet of the USSR dated 12 September 1956 changing its design. The archival description cites issue No. 18 of the Gazette and article 395. Comparing the dates—the July law, the September decree and the replacement of the coat of arms on Pavilion No. 67 in 1957—shows that state decisions and changes to the exhibition’s design followed different schedules. The document does not explain who decided to retain the fountain’s sixteenth sculpture.

VDNKh also traces the history of the pavilion’s exhibition through successive stages. Until 1957, the pavilion was called ‘Karelo-Finnish SSR’. It was then renamed ‘Academy of Sciences of the USSR’, followed by ‘Science’ in 1958; later exhibitions covered the cultures of the peoples of the Russian SFSR and other subjects. According to the assessment, in 1956–1957 it displayed the country’s scientific and technological achievements instead of the economy of a single republic. The change in exhibition confirms that the organisers revised the pavilion’s programme to reflect the new administrative map. The fountain’s allegory did not depend on what was on display inside the pavilion; it remained part of the square’s completed ensemble.

The Central Pavilion offers another example of how the symbolism was changed. Its 1954 façade design included sixteen medallions bearing the republics’ coats of arms on each side, as confirmed by the building’s history on the exhibition’s website. After the status of the Karelo-Finnish SSR changed, these emblems were removed; according to VDNKh, restorers returned them to their original positions in 2018. The restored façade once again displays the 1954 design, while the fountain’s sixteenth figure remained in the sculptural circle even after 1956.

On Pavilion No. 67, the coat of arms was replaced; the Central Pavilion’s medallions were restored later. At the fountain, the bronze allegorical figure was left in place. The idea that removing the four-metre figure would have disrupted the circle around the sheaf is an inference from the ensemble’s design; none of the materials reviewed records such a decision by the exhibition’s organisers.

The restoration of Pavilion No. 67, completed in 2025, adds another dimension to this comparison. VDNKh reportsthat specialists preserved the wooden sculptures on the façade, restored the carved doors with spruce-branch motifs and partially reinstated the 1954 interior décor. The building’s historic name and original purpose can now be explored despite the many changes to its exhibitions. Together, the fountain and this historic building show how physical details survived administrative changes for different reasons.

What did the fountain’s restoration reveal?

A 2020 state expert assessment classifies the Friendship of Peoples fountain as a cultural heritage site of federal significance and cites the order placing it under protection dated 5 July 1993. It also notes that, when the assessment was drawn up, the boundaries of the ensemble’s grounds and the features subject to protection had not been approved. The site’s status alone does not prove that all visible elements have survived since 1954; reports on specific works are needed to establish that.

The 2018–2019 restoration preserved the sixteen figures as a single historic ensemble. A VDNKh report records repairs to their gilding and frames, the restoration of details and an upgrade to the hydraulic system; the fountain reopened on 30 April 2019.

In 2005–2006, the state institution Gormost had already carried out work on the Friendship of Peoples fountain. Moscow Heritage magazine clarified in 2017: the work helped keep the fountain operational, but was carried out without a restoration plan; shortcomings identified later were addressed during maintenance. In 2013, the organisation responsible for maintenance installed LED floodlights to illuminate the water jets. The comprehensive restoration of 2018–2019 marked the next stage in preserving the monument.

Gilding, water and restored details

During the restoration, specialists worked on the bronze sculptures, stonework, hydraulic equipment and missing small details. VDNKh reportedthat the comprehensive restoration began in October 2018, was completed in April 2019, and the fountain reopened on 30 April.

The figures were removed from their pedestals and taken to workshops. According to VDNKh, 25 restorers spent four months stripping the sixteen statues back to the bronze, preparing their surfaces and regilding them with gold leaf. The institution’s publications differ on how much gold was used: one puts the figure at around five kilograms, another at six. For the history of the monument, the documented sequence of work and the number of figures preserved matter more; the exact weight of gold cannot be confirmed without the cost estimate documents.

The restoration went beyond renewing the gilding. The Ukrainian figure’s missing sunflower was recreated from archival drawings, while damaged grape leaves on the Armenian figure were restored. These examples distinguish the preservation of the original composition from the idea that every branch seen today has been there since 1954. Some prominent elements were reconstructed from historical sources. Their historical authenticity rests on the drawings and restoration methods, rather than the age of the metal in every leaf.

The fountain in action shows why an old monument cannot be judged from still photographs alone. VDNKh reports that, after the repairs, its 784 water jets reached heights of twenty metres, with nine pumps installed in place of the four previously in operation. Before the work, the columns of water barely reached ten metres. The water gives scale to the golden circle and changes which details visitors can see from different sides. These figures describe the results of the 2019 project; without a separate, up-to-date check, they cannot be taken to describe the fountain’s daily operation in 2026.

As well as the sixteen female figures, the restoration team repaired the granite cladding and cast-iron shell-shaped basins on the cascade, and recreated the lost copper figures of fish and dolphins. These details help explain the fountain’s central design: the sculptures representing the republics are surrounded by an intricate arrangement of several materials. Focus only on the golden figures, and it is easy to miss how the pattern of the water, the stone rim and the decorative sculptures formed a single work of art.

How can you understand the fountain without confusing its history?

Two dates matter at the Friendship of Peoples fountain: its opening on 1 August 1954 and the law of 16 July 1956. The first explains the number of allegorical figures; the second explains why that number differs from the later number of Soviet republics. The Karelian-Finnish figure, with her flowers and spruce tree, preserves the ensemble’s original design. The sheaf, costumes and plants express the theme of the agricultural exhibition. The circle of sculptures records the composition of the USSR in August 1954.

The route VDNKh and Space tour passes the Friendship of Peoples fountain and the pavilions of the Soviet republics; there, you can compare the Karelian-Finnish allegorical figure with its neighbours and see how the same theme was expressed in the architecture.

Sources

1. VDNKh. The 16 allegorical sculptures of the Friendship of Peoples Fountain
2. State Historical and Cultural Expert Assessment Report for the Heritage Site ‘VSKhV – VDNKh – VVTs’
3. On the Transformation of the Karelo-Finnish SSR into the Karelian ASSR. USSR Law of 16 July 1956
4. VDNKh. Friendship of Peoples Fountain
5. USSR Law of 31 March 1940 on the Transformation of the Karelian ASSR into the Karelo-Finnish SSR
6. Presidential Library. The 1936 Constitution of the USSR and the Constitutions of the Republics
7. VDNKh. The history of the Central Pavilion and the medallions of the sixteen republics
8. VDNKh. The history of the Friendship of Peoples and Stone Flower fountains
9. VDNKh. The exhibition’s artists and the Karelo-Finnish SSR Pavilion
10. VDNKh. The history of Pavilion No. 67, Karelo-Finnish SSR
11. VDNKh. Restoration of Pavilion No. 67, Karelia
12. VDNKh. Reopening of the Friendship of Peoples and Stone Flower fountains after restoration
13. USSR Law of 16 July 1956 amending Articles 13 and 22 of the USSR Constitution
14. Decree of 12 September 1956 on changes to the design of the State Emblem of the USSR
15. VDNKh. Restoration of the Central Pavilion and the return of the Karelo-Finnish SSR medallions
16. ‘Moscow Heritage’. Repairs to the ‘Friendship of Peoples’ Fountain in 2005–2006
17. A. P. Bogolyubov Arts Library. Exhibition catalogues of members of the Moscow Union of Artists