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Updated: June 8, 2025
The enthusiasm over this picture stirred some of the old feeling for it in Mihailov, but he feared and disliked this waste of feeling for things past, and so, even though this praise was grateful to him, he tried to draw his visitors away to a third picture. But Vronsky asked whether the picture was for sale.
And before the picture of Ivanov the question arises for the believer and the unbeliever alike, 'Is it God, or is it not God? and the unity of the impression is destroyed." "Why so? I think that for educated people," said Mihailov, "the question cannot exist."
"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.
On learning from the porter's wife, who came out to them, that Mihailov saw visitors at his studio, but that at that moment he was in his lodging only a couple of steps off, they sent her to him with their cards, asking permission to see his picture. The artist Mihailov was, as always, at work when the cards of Count Vronsky and Golenishtchev were brought to him.
It was the portrait of Anna, painted in Italy by Mihailov. While Stepan Arkadyevitch went behind the treillage, and the man's voice which had been speaking paused, Levin gazed at the portrait, which stood out from the frame in the brilliant light thrown on it, and he could not tear himself away from it.
Golenishtchev's faith in Vronsky's talent was propped up by his own need of Vronsky's sympathy and approval for his own articles and ideas, and he felt that the praise and support must be mutual. In another man's house, and especially in Vronsky's palazzo, Mihailov was quite a different man from what he was in his studio.
He painted with her as his model, admired her beauty and mediaevalism, and Anna dared not confess to herself that she was afraid of becoming jealous of this nurse, and was for that reason particularly gracious and condescending both to her and her little son. Vronsky, too, glanced out of the window and into Anna's eyes, and, turning at once to Golenishtchev, he said: "Do you know this Mihailov?"
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.
Vronsky, Anna, and Golenishtchev, on their way home, were particularly lively and cheerful. They talked of Mihailov and his pictures.
Mihailov meanwhile, although Anna's portrait greatly fascinated him, was even more glad than they were when the sittings were over, and he had no longer to listen to Golenishtchev's disquisitions upon art, and could forget about Vronsky's painting.
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