Anna Karenina (Dole)/Part Five/Chapter 13

by Leo Tolstoy

CHAPTER XIII

Mikhaïlof sold Vronsky the little picture, and also agreed to paint Anna's portrait. He came on the appointed day and began his work.

Even on the fifth sitting the portrait struck every one, and especially Vronsky, by its resemblance, and by its peculiar beauty. It was remarkable how Mikhaïlof was able to hit upon her peculiar beauty.

"One must know her and love her as I love her to get her gentle and spiritual expression," thought Vronsky; and yet he found in Mikhaïlof's portrait exactly that very expression. But this expression was so faithful that it seemed to him and to others that they had always known it.

"I have spent so much time, and never get ahead," said Vronsky, referring to his own portrait of Anna, "and he has only to look at her to paint her. That is what I call technique."

"That will come," said Golenishchef, to console him; for in his eyes Vronsky had talent, and, moreover, had a training which ought to give him a lofty view of art. But Golenishchef's belief in Vronsky's talent was sustained by the fact that he needed Vronsky's praise and sympathy with him in his own work, and he felt that the praise and support ought to be reciprocal; it was a fair exchange.

In a stranger's house, and especially in Vronsky's palazzo Mikhaïlof was an entirely different man from what he was in his own studio. He showed himself almost venomously respectful, as if he were anxious to avoid all intimacy with people whom at heart he did not respect. He always called Vronsky "your excellency";^[1] and, in spite of Vronsky's and Anna's repeated invitations, he never would stay to dinner, or come except at the hours for the sitting. Anna was even more genial to him than to the others, and grateful for her portrait; Vronsky was more than polite to him, and was anxious for his criticism on his paintings; Golenishchef never lost an opportunity of inculcating sound theories of art: still Mikhaïlof remained just as cool as ever to them all. But Anna felt that he liked to look at her, even though he avoided all conversation with her. When Vronsky wanted to talk about his own work he remained obstinately silent, and he was just as obstinately silent when he was shown Vronsky's painting and pictures, and he took no pains to conceal the weariness which Golenishchef's sermons caused him.

On the whole Mikhaïlof, by his distant and disagreeable, as it were hostile, behavior, was very unpopular with them, even after they came to see him closer; and they were glad when the sittings were over, and the painter, having completed an admirable portrait, ceased to come. Golenishchef was the first to express a thought which all had been thinking: that Mikhaïlof was envious of Vronsky.

"We will agree that he is not envious because he has talent; but he is vexed to see a wealthy man, of high position, a count,—and apparently they are all vexed at that,—reaching without especial trouble the skill to paint as well, if not better, than he, though he has devoted his life to painting; but, above all, at your mental culture, which he has not."

Vronsky took Mikhaïlof's part, but he felt at heart that his friend was right; for it seemed to him extremely natural that a man in an inferior position should envy him.

The two portraits of Anna, painted from the life by him and Mikhaïlof, might have shown Vronsky the difference between him and Mikhaïlof, but he did not see it. Only after Mikhaïlof had finished his portrait he ceased to work at his, having decided that it was a superfluity; but he still devoted himself to his painting of medieval life. He himself, and Golenishchef, and Anna especially, felt that it was very good, because it resembled the works of the old masters far more than Mikhaïlof's painting did.

Mikhaïlof, meantime, in spite of the pleasure which he took in doing Anna's portrait, was even more glad than the others were when the sittings came to an end, and he no longer had to hear Golenishchef's discourses about art, and was allowed to forget Vronsky's paintings. He knew that it was impossible to prevent Vronsky from amusing himself with painting; he knew that he, and all other dilettanti, had the right to paint as much as they pleased; but it was disagreeable to him. No one can prevent a man from making for himself a big wax doll, and kissing it; but if this man takes his doll and sits in the presence of a lover, and begins to caress his doll as the lover caresses the woman he loves, then it becomes unpleasant to the lover. Vronsky's painting produced on him a similar feeling; it was ridiculous and vexatious, pitiable and disgusting.

Vronsky's enthusiasm for painting and the Middle Ages was, however, of short duration; his art instinct was strong enough to prevent him from finishing his painting. His work came to a standstill. He had a dim consciousness that his faults, at first apparently trifling, would grow more and more grievous if he went on. The same thing happened to him that happened to Golenishchef, who was conscious that he had nothing to say, and kept deceiving himself with the notion that his thought was not yet ripe, that he was training it, and collecting materials. But this made Golenishchef bitter and irritable, while Vronsky could not deceive himself, or torture himself, and, least of all, grow irritable. With his habitual decision of character, without seeking to justify himself or to offer explanations, he simply gave up his painting.

But, without this occupation, his life in this little Italian city quickly became intolerable; the palazzo suddenly appeared old and filthy; the spots on the curtains assumed a sordid aspect; the cracks in the mosaics, the broken stucco of the cornices, the eternal Golenishchef, the Italian professor, and the German tourist, all became so unspeakably wearisome that it was necessary to make a change. Accordingly he and Anna, who was surprised by this abrupt disenchantment, decided to return to Russia to live in the country. Vronsky wanted to pass through Petersburg to make business arrangements with his brother, and Anna was anxious to see her son. They decided to spend the summer on Vronsky's large patrimonial estate.

 

1. Vashe siyatelstvo