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Updated: May 6, 2025
And he himself, and Golenishtchev, and still more Anna, thought it very good, because it was far more like the celebrated pictures they knew than Mihailov's picture.
Anna's portrait the same subject painted from nature both by him and by Mihailov ought to have shown Vronsky the difference between him and Mihailov; but he did not see it. Only after Mihailov's portrait was painted he left off painting his portrait of Anna, deciding that it was now not needed. His picture of mediaeval life he went on with.
All Mihailov's mobile face beamed at once; his eyes sparkled. He tried to say something, but he could not speak for excitement, and pretended to be coughing.
All this and much more flashed into Mihailov's thoughts. "Yes, and how that figure is done what atmosphere! One can walk round it," said Golenishtchev, unmistakably betraying by this remark that he did not approve of the meaning and idea of the figure. "Yes, there's a wonderful mastery!" said Vronsky. "How those figures in the background stand out!
"Have you seen Mihailov's picture?" he said, handing him a Russian gazette he had received that morning, and pointing to an article on a Russian artist, living in the very same town, and just finishing a picture which had long been talked about, and had been bought beforehand.
There you have technique," he said, addressing Golenishtchev, alluding to a conversation between them about Vronsky's despair of attaining this technique. "Yes, yes, marvelous!" Golenishtchev and Anna assented. In spite of the excited condition in which he was, the sentence about technique had sent a pang to Mihailov's heart, and looking angrily at Vronsky he suddenly scowled.
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