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Anna Karenina 273

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Anna Karenina

War And Peace

paint a Christ that is not in my heart," said Mihailov gloomily. "Yes; but in that case, if you will allow me to say what I think.... Your picture is so fine that my observation cannot detract from it, and, besides, it is only my personal opinion. With you it is different. Your very motive is different. But let us take Ivanov. I imagine that if Christ is brought down to the level of an historical character, it would have been better for Ivanov to select some other historical subject, fresh, untouched." "But if this is the greatest subject presented to art?" "If one looked one would find others. But the point is that art cannot suffer doubt and discussion. 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." 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. Chapter 12 Anna and Vronsky had long been exchanging glances, regretting their friends flow of cleverness. At last Vronsky, without waiting for the artist, walked away to another small picture. "Oh, how exquisite! What a lovely thing! A gem! How exquisite!" they cried with one voice. "What is it theyre so pleased with?" thought Mihailov. He had positively forgotten that picture he had painted three years ago. He had forgotten all the agonies and the ecstasies he had lived through with that picture when for several months it had been the one thought haunting him day and night. He had forgotten, as he always forgot, the pictures he had finished. He did not even like to look at it, and had only brought it out because he was expecting an Englishman who wanted to buy it. "Oh, thats only an old study," he said. "How fine!" said Golenishtchev, he too, with unmistakable sincerity, falling under the spell of the picture. Two boys were angling in the shade of a willow-tree. The elder had just dropped in the hook, and was carefully pulling the float from behind a bush, entirely absorbed in what he was doing. The other, a little younger, was lying in the grass leaning on his elbows, with his tangled, flaxen head in his hands, staring at the water with his dreamy blue eyes. What was he thinking of? 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. To Mihailov at that moment, excited by visitors, it was extremely distasteful to speak of money matters. "It is put up there to be sold," he answered, scowling gloomily. When the visitors had gone, Mihailov sat down opposite the picture of Pilate and Christ, and in his mind went over what had been said, and what, though not said, had been implied by those visitors. And, strange to say, what had had such weight with him, while they were there and while he mentally put himself at their point of view, suddenly lost all importance for him. He began to look at his picture with all his own full artist vision, and was soon in that mood of conviction of the perfectibility, and so of the significance, of his picture--a conviction essential to the most intense fervor, excluding all other interests--in which alone he could work. Christs foreshortened leg was not right, though. He took his palette and began to work. As he corrected the leg he looked continually at the figure of John in the background, which his visitors had not even noticed, but which he knew was beyond perfection. When he had finished the leg he wanted to touch that figure, but he felt too much excited for it. He was equally unable to work when he was cold and when he was too much affected and saw everything too much. There was only one stage in the transition from coldness to inspiration, at which work was possible. Today he was too

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