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Updated: June 4, 2025
But as Golenishtchev began to lay down his opinions and Vronsky was able to follow them even without knowing the Two Elements, he listened to him with some interest, for Golenishtchev spoke well. But Vronsky was startled and annoyed by the nervous irascibility with which Golenishtchev talked of the subject that engrossed him.
What he particularly disliked was that Golenishtchev, a man belonging to a good set, should put himself on a level with some scribbling fellows, with whom he was irritated and angry. Was it worth it? Vronsky disliked it, yet he felt that Golenishtchev was unhappy, and was sorry for him.
This second meeting might have been expected, one would have supposed, to estrange them still more. But now they beamed and exclaimed with delight on recognizing one another. Vronsky would never have expected to be so pleased to see Golenishtchev, but probably he was not himself aware how bored he was.
You're still at the same work, then?" he went on, recalling that he had been told Golenishtchev was writing something. "Yes, I'm writing the second part of the Two Elements," said Golenishtchev, coloring with pleasure at the question "that is, to be exact, I am not writing it yet; I am preparing, collecting materials. It will be of far wider scope, and will touch on almost all questions.
Golenishtchev did not agree with this, and confounded Mihailov by his support of his first idea of the unity of the impression being essential to art. Mihailov was greatly perturbed, but he could say nothing in defense of his own idea. Anna and Vronsky had long been exchanging glances, regretting their friend's flow of cleverness.
He walked rapidly to the door of his studio, and in spite of his excitement he was struck by the soft light on Anna's figure as she stood in the shade of the entrance listening to Golenishtchev, who was eagerly telling her something, while she evidently wanted to look round at the artist.
The same experience befell him as Golenishtchev, who felt that he had nothing to say, and continually deceived himself with the theory that his idea was not yet mature, that he was working it out and collecting materials. This exasperated and tortured Golenishtchev, but Vronsky was incapable of deceiving and torturing himself, and even more incapable of exasperation.
"It's in the guide-book," said Golenishtchev, referring to the palazzo Vronsky had taken. "There's a first-rate Tintoretto there. One of his latest period." "I tell you what: it's a lovely day, let's go and have another look at it," said Vronsky, addressing Anna. "I shall be very glad to; I'll go and put on my hat.
Christ is represented as a Jew with all the realism of the new school." And the question of the subject of the picture having brought him to one of his favorite theories, Golenishtchev launched forth into a disquisition on it. "I can't understand how they can fall into such a gross mistake. Christ always has His definite embodiment in the art of the great masters.
"One thing might be said, if you will allow me to make the remark..." observed Golenishtchev. "Oh, I shall be delighted, I beg you," said Mihailov with a forced smile. "That is, that you make Him the man-god, and not the God-man. But I know that was what you meant to do." "I cannot paint a Christ that is not in my heart," said Mihailov gloomily.
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