1 He had enough taste for painting to be unable to finish his picture.
2 "I cannot paint a Christ that is not in my heart," said Mihailov gloomily.
3 Mihailov sold Vronsky his picture, and agreed to paint a portrait of Anna.
4 This he knew positively, and had known a long while, ever since he had begun to paint it.
5 With his characteristic decision, without explanation or apology, he simply ceased working at painting.
6 Over the easy chair there hung in a gold frame an oval portrait of Anna, a fine painting by a celebrated artist.
7 He knew that by this term was understood a mechanical facility for painting or drawing, entirely apart from its subject.
8 He painted studies from nature under the guidance of an Italian professor of painting, and studied mediaeval Italian life.
9 After trying various subjects of conversation, she got him upon painting, of which he talked very well, and she listened to him attentively.
10 Although they were still at work on the cornices outside and were painting on the ground floor, upstairs almost all the rooms were finished.
11 He had noticed often that even in actual praise technique was opposed to essential quality, as though one could paint well something that was bad.
12 And the most experienced and adroit painter could not by mere mechanical facility paint anything if the lines of the subject were not revealed to him first.
13 He knew that Vronsky could not be prevented from amusing himself with painting; he knew that he and all dilettanti had a perfect right to paint what they liked, but it was distasteful to him.
14 Pestsov, who was standing beside him, was talking to him almost all the time, condemning the music for its excessive affected assumption of simplicity, and comparing it with the simplicity of the Pre-Raphaelites in painting.
15 As he had from a child a taste for painting, and as, not knowing what to spend his money on, he had begun collecting engravings, he came to a stop at painting, began to take interest in it, and concentrated upon it the unoccupied mass of desires which demanded satisfaction.
16 Since he knew nothing of this, and drew his inspiration, not directly from life, but indirectly from life embodied in art, his inspiration came very quickly and easily, and as quickly and easily came his success in painting something very similar to the sort of painting he was trying to imitate.
17 He appreciated all kinds, and could have felt inspired by any one of them; but he had no conception of the possibility of knowing nothing at all of any school of painting, and of being inspired directly by what is within the soul, without caring whether what is painted will belong to any recognized school.
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