max and's his money from what he calls furniture kitsch -- max ernst -- max earns his money from whate calls furniture kitsch. he's 59 years old, happily married, and the father of teen children. russian magazines depict a man is someone who has made it the -- big. >> island of the contract of a lifetime to it three government planes with my furnishings. president clinton uses those planes to fly across russia. -- president clinton -- president putin uses those planes to fly across russia. here's how it looks. i'm very proud of that. >> 120 people work in the sofa king's factory. some are guestworkers from italy. the sanctions and the collapse of the ruble do not ruffle max's feathers. >> if the ruble falls, my furniture will cost 15% to 18% more at most. my competitors from italy, germany, and the netherlands raise their prices in russia buys the percent to 80%, so western products are too expensive or russian consumers. russian producers reap great rewards from eu sanctions. >> as long as max can make and sell his furniture, he does not worry about politics. in fact, he would rather

but as a young man in paris, he joined with friends like max ernst and jean arp in the emeing surrealist movement of the 1920s. in his painting "the farm," miro's charactistic symbols and themes began to appear: serpenne shapes, eckeoard patterns, finite space represented by the moon or a star. in 1922, he painted "the farmer's wife," the ancestress of countless female symbols that also became a continuing motif in miro's art. in 1924, his art broke free of gravitational constraints in theurrealtic world of "harlequin's carnival." over the years, he developed his own personal symbolism and in the 1950s, the scal his art grew with such works as a mural at harrd university and "the wall ofhe sun" for unesco in pas. as his work grew in size, miro continued what he termed "a process of simplification." he stated, "little by little, i have managed to reach a point at which i use no more than a small number of forms d colors." this process found a culminating expression in his eight-foot-high painting "femme," the maquette for the tialallery's tapestry. miro entered the project with much enthu