Charles Strickland

Dirk Stroeve

Strickland cruelly exploits Stroeve's generosity and artistic admiration, ultimately destroying Stroeve's marriage and home without remorse.

Mrs. Strickland

Strickland abandons his wife and children without warning, showing complete indifference to family obligations in pursuit of art.

Ata

Ata becomes Strickland's devoted Tahitian wife, providing him with unconditional love and care while he paints his masterpieces.

Dr. Coutras

Dr. Coutras treats Strickland during his final illness with leprosy, observing his fierce dedication to art until death.

Dirk Stroeve

Strickland cruelly exploits Stroeve's generosity and artistic admiration, ultimately destroying Stroeve's marriage and home without remorse.

Dirk Stroeve

Strickland cruelly exploits Stroeve's generosity and artistic admiration, ultimately destroying Stroeve's marriage and home without remorse.

Mrs. Strickland

Strickland abandons his wife and children without warning, showing complete indifference to family obligations in pursuit of art.

Dr. Coutras

Dr. Coutras treats Strickland during his final illness with leprosy, observing his fierce dedication to art until death.

Ata

Ata becomes Strickland's devoted Tahitian wife, providing him with unconditional love and care while he paints his masterpieces.

Ata

Ata becomes Strickland's devoted Tahitian wife, providing him with unconditional love and care while he paints his masterpieces.

I

The painter whose posthumous reputation is being discussed; his life and character are the subject of myth and conflicting biographies.

II

The painter whose life and work the narrator intends to illuminate, particularly the obscure final years in Tahiti.

IV

Mentioned as Mrs. Strickland's husband, a dull stockbroker with no interest in literature or the arts.

V

Mentioned as Mrs. Strickland's husband, a stockbroker and philistine, whom the narrator has not yet met.

VI

Met for the first time; described as broad, heavy, clumsy, and commonplace, with no social gifts.

VII

Mentioned as a dull but adequate husband, content in his domestic life.

Chapter VIII

Absent; discussed as having run away to Paris with a woman, leaving his family.

IX

Described as having left his wife for Paris without explanation.

Chapter X

Has left his family for Paris, sending a brief, cold letter; his whereabouts are known.

XI

Found living alone in a shabby hotel; unshaven, wearing an old Norfolk jacket, but appears perfectly at home.

XII

Reveals his true reason for leaving: an obsessive need to paint, dismissing family and societal judgment.

XIII

Shows indifference to the narrator's mission and to the prostitute's advances, absorbed in his own vision.

XIV

Shows complete indifference to convention and the opinions of others; dismisses Kant's maxim and the narrator's appeals to conscience.

XIX

Mentioned as a red-bearded English painter who has genius but no success; he borrowed money from Stroeve without commenting on his art.

Chapter XX

Found playing chess at the café, emaciated and ragged, but still defiant.

XXI

Strickland discusses his artistic obsession, his indifference to comfort and fame, and his life in Paris doing odd jobs to survive while painting.

XXII

Mentioned as having removed his pictures from the dealer's shop; his talent is debated by Dirk and the dealer.

XXIII

Shows his brutal, indifferent nature; asks to borrow money, later taunts Stroeve mercilessly.

XXIV

Found ill and feverish in his attic, having had no food for two days; he is irritable and dismissive of Stroeve's help.

XXV

Mentioned as being gravely ill and alone in a filthy attic; the subject of the argument.

XXVI

Lies ill in Stroeve's studio, silent and ungrateful; his eyes show a curious irony and sensuality; he is indifferent to comfort and reads Mallarmé and Gaboriau.

Chapter XXVII

Painting in Stroeve's studio; he forced Stroeve out and locked the door.

XXVIII

Remains calm and indifferent during the confrontation, whistling a tune and making a parcel, showing no concern for Dirk's anguish.

XXIX

Referenced as the man Blanche has fallen in love with; Stroeve describes his lack of concern and his immediate agreement to leave the studio.

Chapter of Reflection on Blanche Stroeve's Betrayal

Strickland is discussed as the object of Blanche's attraction and as a man the narrator believes incapable of love.

XXXII

Strickland is accompanied by Blanche Stroeve, greets the narrator cordially, and plays chess with him.

XXXIII

Mentioned as the man Blanche is now living with; the narrator saw them together in a café.

Chapter XXXIV

Strickland is mentioned as having had a row with Blanche the previous night and then leaving. He is not present in the chapter.

XXXV

Mentioned as the cause of Blanche's despair; narrator imagines his cruelty.

XXXIX

Referenced through his painting of Blanche, which Stroeve describes as a work of genius that reveals a new soul.

XL

Strickland insists on walking with the narrator, displaying geniality and indifference to the narrator's hostility.

XLI

Expounds his views on love as a disease and women as instruments of pleasure; reveals the truth about Blanche Stroeve's past and his own desire for her.

XLII

Shows the narrator his paintings; dismisses the narrator's interpretation of his motives; leaves for Marseilles.

XLIII

Reflected upon as a man whose motives for becoming a painter remain obscure; described as practical, matter-of-fact, single-minded, and lacking self-consciousness; his real life consisted of dreams and hard work, and he is seen as a great idealist despite being cruel, selfish, brutal, and sensual.

XLIV

Strickland's opinions on art are discussed; he is sardonic, rude, and has conventional views except for an interest in Brueghel the Elder.

XLV

Strickland is discussed as having found in Tahiti the favorable circumstances to achieve his artistic vision.

XLVI

Mentioned as the subject of the narrator's interest; Captain Nichols claims to have known him and brought him to the islands.

XLVII

Strickland is living in destitution in Marseilles, relying on shelters and Tough Bill's boardinghouse. He paints a portrait of Tough Bill and later gets into a violent fight with him.

XLVIII

Recalled as a beachcomber in Tahiti, known for absurd paintings, later recognized as a genius after death.

XLIX

Remembered by Tiaré as thin, penniless, and unable to hold a job; he felt an immediate and profound connection to Tahiti.

LI

Agrees to marry Ata after a trial month, showing a quiet, settled side as he prepares to live in the bush.

LII

Lives happily with Ata in a remote bungalow, painting, reading, and enjoying the simple life.

LIII

Described as living in a remote paradise with Ata, fully gone native, wearing only a pareo, and completely devoted to his art.

LIV

Discussed as a figure who received sympathy on the island, driven by a tyrannical passion to create beauty.

LV

Strickland is now a leper, living in isolation with Ata, painting the walls of his house, and refusing to see the doctor initially.

LVI

Found dead on a bed of mats, mutilated and ghastly, having painted a masterpiece on the walls before his death.

LVIII

Deceased; his paintings are reproduced on Mrs. Strickland's walls, and his life in Tahiti is discussed, though his second family is omitted.

Endnotes

Subject of the referenced monographs and paintings described in the endnotes.