On entering the studio, Mihailov once more scanned his visitors and
noted down in his imagination Vronsky’s expression too, and especially
his jaws. Although his artistic sense was unceasingly at work
collecting materials, although he felt a continually increasing
excitement as the moment of criticizing his work drew nearer, he
rapidly and subtly formed, from imperceptible signs, a mental image of
these three persons.
That fellow (Golenishtchev) was a Russian living here. Mihailov did not
remember his surname nor where he had met him, nor what he had said to
him. He only remembered his face as he remembered all the faces he had
ever seen; but he remembered, too, that it was one of the faces laid by
in his memory in the immense class of the falsely consequential and
poor in expression. The abundant hair and very open forehead gave an
appearance of consequence to the face, which had only one expression—a
petty, childish, peevish expression, concentrated just above the bridge
of the narrow nose. Vronsky and Madame Karenina must be, Mihailov
supposed, distinguished and wealthy Russians, knowing nothing about
art, like all those wealthy Russians, but posing as amateurs and
connoisseurs. “Most likely they’ve already looked at all the antiques,
and now they’re making the round of the studios of the new people, the
German humbug, and the cracked Pre-Raphaelite English fellow, and have
only come to me to make the point of view complete,” he thought. He was
well acquainted with the way dilettanti have (the cleverer they were
the worse he found them) of looking at the works of contemporary
artists with the sole object of being in a position to say that art is
a thing of the past, and that the more one sees of the new men the more
one sees how inimitable the works of the great old masters have
remained. He expected all this; he saw it all in their faces, he saw it
in the careless indifference with which they talked among themselves,
stared at the lay figures and busts, and walked about in leisurely
fashion, waiting for him to uncover his picture. But in spite of this,
while he was turning over his studies, pulling up the blinds and taking
off the sheet, he was in intense excitement, especially as, in spite of
his conviction that all distinguished and wealthy Russians were certain
to be beasts and fools, he liked Vronsky, and still more Anna.
“Here, if you please,” he said, moving on one side with his nimble gait
and pointing to his picture, “it’s the exhortation to Pilate. Matthew,