By the way, Amshey Nuremberg was the son-Yuri Trifonov.
"In Paris they visited the artist Nina and Flint, with whom he had once befriended the father of Nina Markovic Amshey Nuremberg. Kremen lived on the edge, and get in his small apartment in a huge apartment house could only be on the outside iron staircase, like a fire. But once he was famous, and Amshey Markovic believed that "Lenya talented than Mark, but he was not lucky."

The same is confirmed and even the great Marc Chagall, when we met him in St Paul is in his eightieth year.

Amshey Markovic served at one time an important place in the life of V. First, he was the father, no, firstly, with him was very interesting to talk about painting, about the occupation of the artist. Yu dreamed in his youth to become an artist. Amshey Markovic was a man of extraordinary, interesting artist, and the fate bright. Notebooks survived his time living in Paris in the twenties. "Rotunda", art exhibitions, friendship with Marc Chagall, Soutine, Flint, Modigliani ... "
http://magazines.russ.ru/druzhba/1998/10/trifonov.html
Amshey Markovic Nuremberg 1887 (Yelisavetgrad Kherson Province) - 1979 (Moscow), after six years of study in Odessa (1904 - 1910) continued to receive professional education in private academies in Paris (1911 - 1912). At the same time became acquainted with Chagall, with whom he shared a workshop during the year in the hostel artists La Ruche (The Hive) in the streets of Danzig. From 1910 began to participate in exhibitions, was a member of associations TYURH (Association of South Russian Artists), "Association of Independent Artists" (1918, Odessa), Knife (New Society of Painters) (1922), "Moscow Painters" (1925), AHRR -- AChRs (1926 - 1929). In 1918, led the private studio of "free workshop" in Odessa. In 1919 headed the Department of Arts gubkomissii museums in Odessa. From 1920 he worked in the "windows GROWTH" under the leadership of Vladimir Mayakovsky. In 1922 he read in VHUTEMAS lectures on modern Western art. In 1922 - 1925 worked as art reviewer in the newspaper Pravda. In 1927 the direction of AV Lunacharskogo was in a creative assignment in Paris. Later, during the two years he worked as an artist in the Museum of the Revolution.
Older brother David Devinova-Nyuenberga.

Perutsky Mikhail Semenovich 1892, Slavuta Volyn lips. - 1959, Moscow.

Boris on Turkish Perutskom.
Mikhail Semenovich Perutsky was, of course, a Jew, though in appearance was not typical Jewish traits. He was slightly below average growth. Noticeably reddish and thin hair, to which he was for some reason, I think, indifferent. Strongly stooped. Always wore the same brown jacket or suit, which is markedly obvis of socks. In the other clothes I had not seen. He spoke gently, not something that Gounden, as it were Gundo. Was slow in all his manner, hold on, talk. But it seemed that not from nature but from some fatigue.
In our class Perutsky was a teacher at the drawing. It seems that all the time he was in the classroom. He said not much and not enough. His presence felt in the sense of a leisurely and calm ... (?) But it seemed to me that he teaches is not so. It seems that the students treated him with great confidence. And I thought that this sort of deception that he is deceiving them, not to mention all of their work. Deceive their trust.
I saw that some directly affected by failures of impotence. And at this very dedication applies to employment, as if blaming only himself, his clumsy. And without thinking, even for a moment, to draw his annoyance at the teacher. Just love. It is the basis of their work seemed to be wrong, and I thought with displeasure, as Perutsky can with something to praise, and generally make a pleasant, businesslike, friendly atmosphere. I thought this deception. He often spoke in a slightly ironic tone in relation to the students and their work. It also annoyed me with what I was thinking about his teaching.
He was in the classroom. So sit correct, then walked. Most sat in some easel. Sometimes saying something. During his studies there was almost no jokes, kidding. And in general vote. More could be heard from time to time, his voice and comments. And usually, in other lessons or without a teacher joked and joked unusually large number. And if restrained when a teacher, it felt like it was restrained and ready at any moment to break, break out. So you paint or write, and feel, now, someone will say something. Just waiting for this. Even prevented. And all this Perutskogo Nicla, was quiet. And why - I do not know. Whether fear is not so good joke. Whether something break. It something feared. Although it was never raised his tone, not berated. There was strict. Something feared. Or were passionate affair. It seemed that the case - drawing - terribly difficult, just exhausting. And there is no desire, as if, and witty.
He was not given any nicknames. At the same time do not play with any name, any name or appearance. That is perfect. And this is just hard to believe when all the rest, without exception, in this respect is not left in peace.
That's passed and passed.
LCR: "Many of those who have studied him, talked about it very well, with great love - Lida Masterkova Vechtomov, Nemukhin ..."

          Lydia Masterkova was born in Moscow in 1927. Different arts, she was fond of since childhood: she studied music and took acting classes at the Companions of the Stanislavsky. In 1943 she enrolled in art school at Chudovke, where teachers were disgraced modernists Robert Falk, and Michael Moses Khazanov Perutsky, and students - many future classics Nonconformist, such as Mikhail Roginsky, Boris Turkish, Nicholas Vechtomov. School closed for the "left bias", and Lydia Masterkova continued her education at the school named in 1905. One of her classmates at school on Chudovke, Nicholas Vechtomov, Lydia Masterkova acquainted with the artists and poets, they formed the so-called Lianozovo group.

Alexander Gluskin (1899 - 1969)
Painter, graphic artist, watercolorist. Portraitist, landscape painter, by genre and thematic paintings, still lifes. Poster artist. He studied in Odessa in a private school Yu R. Bershad (1915-1917), Odessa High School of Arts at KK Kostandi (1917-1921). He made his debut on "People's First Exhibition in Odessa (1919). Worked in the "windows politsatiry YugROSTA. From 1921 he lived and worked in Moscow. Member and exponential associations: VAW (New Society of Painters) (1921-1924), «Genesis" (1924-1927). Made friends with writers E. Bagritsky, Olesha, I. Ilf, I. Babel. Member of Moscow Union. Solo exhibitions were held in Moscow in 1955, 1968, 1983. The products are kept in the State Tretyakov Gallery, Pushkin Museum im. Pushkin and other gatherings.

I'd venture a couple of their Gluskin show (although the 60-ies)

And well, that "dare". :) Lane, for example, is very beautiful.

Then another Adlivankin (true 30-e)

Tit, let us still.
Pioneer super-duper! And what he drew? He has all the pioneers on one person. I know, he has a daughter and son?

According to my information - is the son. It's called "Portrait of a son."
Here's another girl. No more.

We need to look tomorrow for a family, where it all was and even photographs.
Daughter-E. S. Strakhov. In 1922, she already was, is a portrait of his wife and daughter.

Not sorted out - how to add text to your message.

In 1924 a society VAW joined Eugene Oks (briefly).
E. Oks, "Pink fence":