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In her post-illness life, Anna feels wonderfully happy. She is sad about the situation with Karenin, but doesn't believe that she can change it.
Anna feels absolutely no shame or suffering, and her love for her son is transferred to her little girl, who, after all, is Vronsky's child.
Anna is happy to have Vronsky all to herself, all the time. Her love for him grows deeper, and her greatest fear becomes losing his love.
As for Vronsky, he's discovered that happiness doesn't bring total fulfillment. He's bored. There's sixteen hours a day to fill, and he and Anna aren't accepted in polite society. So Vronsky immerses himself in politics, books, and art in order to fill his days and pass the time.
Vronsky is good at understanding and imitating art. For Vronsky, all art belongs to one school or another; he doesn't know how to paint from his own soul.
He's drawn mostly to the showy French school of art. He's started a portrait of Anna in this style, with her dressed in an Italian costume.