Dirk's Critical Eye (Situational Irony)
The narrator introduces Dirk in the Paris section of the novel and notes that he is not a very talented painter. He says that he is technically competent but simply paints a number of uninspiring pastoral scenes set in Italy. At the same time, the narrator says that Dirk has a strong critical eye for great work, a trait which he admires, though it baffles him slightly that he can tell when something is good or bad but cannot seem to make his own paintings better. In this instance of situational irony, Dirk is unable to see his own work with a critical eye that might help it improve.
Initial Perception of Strickland (Dramatic Irony)
When the narrator first meets Strickland, he thinks he is very average. After being told by Amy that Strickland has no interest in art, the narrator's impression of Strickland is confirmed at a dinner party at Amy's house. They have a pleasant but forgettable conversation and the narrator thinks about Strickland very little immediately afterwards. However, after Strickland leaves his family and years later becomes a masterful and respected artist, the narrator realizes his initial assessment was completely wrong. Strickland was not only interested in art, but actually planned to dedicate himself to it wholly. The reader knows from the first chapter about Strickland's renowned art career that the narrator could not have been more incorrect in his first impression.
Strickland's Blindness (Situational Irony)
Towards the end of the novel, Dr. Coutras goes into Strickland's home and sees Strickland's masterpiece on the painted walls . He cries out in awe of the strange, otherworldly figures Strickland paints on these walls. He then goes into Strickland's room and finds that he is dead. After speaking with Ata, he learns that Strickland has been blind for almost a year, meaning he painted his greatest work without being able to see. Coutras is shocked by this revelation. In this instance of situational irony, Strickland managed to produce his masterpiece without having the physical capability of looking at it while he was working on it.
Colonel MacAndrew's Assumption (Dramatic Irony)
When Strickland leaves his family, it is widely assumed he has run off with another woman. However, the narrator discovers that instead he has chosen to focus his life on painting, bluntly telling the narrator he has no interest in pursuing any kind of romantic relationships in Paris. This news shocks Colonel MacAndrew, who refuses to believe that Strickland is not merely using this as an excuse to conceal his infidelity. However, Amy takes this explanation at face value and believes that it concretely means he will not be coming back. The reader knows before MacAndrew that his assumption about Strickland is not only false, but completely antithetical to his artistic aspirations.
