The opening chapter of the novel starts with Oblonsky, realizing he is in a quarrel with his wife, unable to perform any work (partly because his work involves her), but this shows quite a contrast between Mihailov and him. Mihailov, a very passionate character, works at his best whilst quarrelling with his wife.
“He never worked with such fervour or so well as when things were going badly with him, and in particular after a quarrel with his wife.”
Unlike with Oblonsky, or even Karenin who seems perturbed performing his duties during his uneasy time with his wife, Mihailov takes this anger and turns it to good use, to work on his art rather than let it hinder him. The simple fact that Mihailov does indeed seem to love his wife, while Oblonsky (and arguably Karenin) don’t, shows that perhaps an argument with someone you care for fuels one of your other loves.
Mihailov, when working on his art, locks himself in his studio. He does this consciously, as he is aware that he needs his privacy and solitude to accomplish his goals. Anna, in a different way, accomplishes the same thing. By pursuing her affair with Vronsky, and by leaving Karenin, she locks herself up in her own cocoon of society, where she is restricted from visiting others.
Of Mihailov’s works, three are shown special attention to. Firstly, the painting of Christ before Pilate, one of controversy which Vronsky says he must have, is “critically analyzed” and praised by the three “art aficionados.” Mihailov, although very critical of the three wealthy observers, takes their opinions incredibly seriously. As an artist, he seeks for his interpretations and his views to be seen through his art. Their comments both give him extreme pride, but also tear him down, as he is at times very insecure with his work. The second painting, that which draws the most attention and praise, that of two young boys fishing, appears to contain symbolism.
“Two boys were angling in the shade of a willow-tree. The elder had just cast the line and, all absorbed, was cautiously drawing the float from behind a bush; the younger boy lay in the grass, leaning on his elbows, with his tangled flaxen head in his hands, staring at the water with dreamy blue eyes. What was the thinking about?”
The younger of the two boys is the epitome of innocence and mischievousness. A blonde haired, blue-eyed boy who is lying in the grass, day-dreaming. This symbolizes all that is pure in the book, all which is innocent. The characters of Levin and Kitty seem connected with this young boy. They are both very vulnerable characters, and those who take love earnestly and base their lives around it. The older boy is working, absorbed in his work and was being very cautious and wary about his line. This boy seems to represent the character of Karenin, someone who is too absorbed in his own work to even notice what is going on around him, to be looking at the water just dreaming.
When monetary expenses are discussed, Mihailov squirms and becomes irritated. This shows his loathing towards money, and how he looks beyond those aspects of life. It seems that Anna’s quirky attraction to Mihailov may have sprouted from the welcome change between a life where money and finance was a key element of daily life with Karenin, to this figure that chooses fervor over funding.
After meeting Vronsky for the first time, Anna’s perception of Karenin becomes very distasteful. She notices all his faults. His hair seems to have been cut incorrectly, the cracking of his joints becomes irritating. The same happens to Vronsky in this section. Once he realizes that he is not a ‘talented’ artist, and once he stops short his experimenting because he realizes Mihailov’s ability far exceeds his, he becomes utterly bored. He notices all the faults of his situation.
“..struck them as intolerably boring in the little Italian town. The palazzo suddenly seemed so noticeably old and dirty. The spots on the curtains, the cracks in the floors, the stucco falling away form the cornices were constant eyesores.”
This exposes one of Vronsky’s traits. He loves to try out different hobbies, much as he does in love (as he earlier admits that settling down seemed unreasonable to him). He becomes frustrated and grows progressively more restless. This impatience is shown by his sudden realization that he needs something new, needs to return to Russia. Anna’s company is not enough for him, yet Anna is “unpardonably happy,” as even though she has left her whole life behind, she has no complaints and fall even more deeply in love with Vronsky.
Vronsky notices in Mihailov’s portrait of Anna a peculiar beauty.
“ ‘One needs to know her and love her, as I have loved her, to discover the very sweetest expression of her soul,’ thought Vronsky, though it was only through this portrait that he himself learned this sweetest expression of her soul.”
The fact that Vronsky, until he sees the painting, has not been aware of Anna’s true soul implies that he doesn’t know enough about her, (and although his love for her seems authentic) Vronsky feels he loves her more than he truly does. That a painter, someone who barely knows Anna (on a platonic level), can see something her lover cannot shows that Mihailov sees something in Anna undetectable by her closest contacts.
Therefore, this episode involving Mihailov, although not particularly important to the plot, gives the reader a deeper insight into the lives and emotions of Anna and Vronsky and the situation in which they have placed themselves. It is this episode that allows Vronsky to realize his boredom, and arguably what drives Anna to suicide (by returning to Russia.)
