Of Human Bondage · Character

Clutton

A painter in Philip's Paris studio whose sardonic indifference masks real talent, the one student Foinet bothers to praise and the one who refuses to care.

supporting

Also known as Mr. Clutton

First appearance: xxviii

See Clutton in xxviii Book page

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Clutton belongs to the shabby, argumentative set of art students around Mrs. Otter's studio, where reputations are made and unmade by the master's thumb. When Foinet grudgingly admits he is beginning to learn to draw, Clutton answers with his usual air of sardonic indifference to the world's opinion — a pose that is also a genuine armor. He shows Philip what seriousness about craft looks like without vanity, and his stubborn independence becomes one measure against which Philip tests his own wavering ambitions.

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See Clutton in xxviii

Character Web

14 connections

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Relationship types

Other

Character groups

Paris Art Students
Minor Characters and Acquaintances
Philip's Romantic and Professional Circles

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Narrative arc

Story tension across the book — this chapter sits in Exposition.

Setup
Escalation
Breaking point
Aftermath
Closing

This passage marks the dramatic climax because it reveals the full psychological inversion of Philip’s charact…

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Relationships

Philip Carey
friendship · ambivalent
Philip Carey
friendship · ambivalent
Philip Carey
friendship · ambivalent

Relationship notes

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See Clutton in xxviii

In the story

Clutton appears across 14 companion beats. Open any chapter in the free preview to see the notes beside the text.

XL
A cynical, impoverished student who dismisses the value of art schools and engages in banter with Miss Price.
XLI
Clutton is present at Gravier's, engaging in the art debate with a scornful demeanor.
XLII
Clutton observes the scene with amusement and asks Cronshaw about Mallarmé, revealing his skepticism of Cronshaw's affectations.
XLIII
Clutton dryly comments on Lawson's avoidance of criticism.
XLIV
Mentioned as one of the artists whose criticism Philip learns from.
XLV
Mentioned as also being influenced by Cronshaw, though he strains after individuality.
XLVII
Clutton scorns Lawson's submitted works and has nothing ready for the Salon himself.
XLVIII
Clutton returns from Spain, criticizes Lawson's portrait, and speaks of a new artistic direction, having destroyed his previous work.
XLIX
Attends Fanny Price's funeral.
The Doubt of a Painter
Clutton argues for the artist's absolute commitment to vision, dismissing conventional morality and success, but Philip sees him as bitter and destined for failure.
LXIV
Mentioned by Philip recalling a discourse on beauty and art from his Paris days.
LXV
Has isolated himself in Gerona, Spain, after quarreling with friends; his artistic struggle is noted by Philip.
LXXXII
Mentioned as having quarreled with everyone and living in obscurity in Paris.
LXXXVI
Mentioned as having spent time in Toledo, connecting him to Athelny's past in Spain.

Chapter companion notes

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See Clutton in xxviii