Anna Karenina - LimpidSoft

PART FIVE CHAPTER 9
Chapter 9
THE old neglected palazzo, with its lofty carved ceilings and frescoes on the walls,
with its floors of mosaic, with its heavy yellow stuff curtains on the windows,
with its vases on pedestals, and its open fireplaces, its carved doors and gloomy reception
rooms, hung with pictures–this palazzo did much, by its very appearance
after they had moved into it, to confirm in Vronsky the agreeable illusion that he
was not so much a Russian country gentleman, a retired army officer, as an enlightened
amateur and patron of the arts, himself a modest artist who had renounced the
world, his connections, and his ambition for the sake of the woman he loved.
The pose chosen by Vronsky with their removal into the palazzo was completely
successful, and having, through Golenishtchev, made acquaintance with a few interesting
people, for a time he was satisfied. He painted studies from nature under the
guidance of an Italian professor of painting, and studied mediaeval Italian life. Mediaeval
Italian life so fascinated Vronsky that he even wore a hat and flung a cloak
over his shoulder in the mediaeval style, which, indeed, was extremely becoming to
him.
“Here we live, and know nothing of what’s going on,” Vronsky said to Golenishtchev
as he came to see him one morning. “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. The article
reproached the government and the academy for letting so remarkable an artist
be left without encouragement and support.
“I’ve seen it,” answered Golenishtchev. “Of course, he’s not without talent, but
it’s all in a wrong direction. It’s all the Ivanov-Strauss-Renan attitude to Christ and
to religious painting.”
“What is the subject of the picture?” asked Anna.
“Christ before Pilate. 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. And therefore, if they
want to depict, not God, but a revolutionist or a sage, let them take from history a
Socrates, a Franklin, a Charlotte Corday, but not Christ. They take the very figure
which cannot be taken for their art, and then...”
“And is it true that this Mihailov is in such poverty?” asked Vronsky, thinking
that, as a Russian Maecenas, it was his duty to assist the artist regardless of whether
the picture were good or bad.
“I should say not. He’s a remarkable portrait-painter. Have you ever seen his
portrait of Madame Vassiltchikova? But I believe he doesn’t care about painting any
more portraits, and so very likely he is in want. I maintain that...”
“Couldn’t we ask him to paint a portrait of Anna Arkadyevna?” said Vronsky.
431