One of the most common human gestures, the pointing finger, appears frequently in Old Master paintings as a guiding cue. However, its influence on viewers' gaze has never been systematically investigated. Researchers in experimental art history at the University of Vienna used eye-tracking methods to analyse whether and how viewers' eyes follow pointing gestures in works by renowned artists such as Raphael, Giorgione, Caravaggio, and Rembrandt. The experiment shows that pointing gestures shape visual attention, but not in the expected linear way. Although the fingers are barely noticed, they spark curiosity about the faces of pointing figures and reshape narrative connections. They also draw the gaze toward the area indicated by the gesture, but the exact choice of target remains flexible. The study was published in Psychology of Aesthetics, Creativity, and the Arts.
When visiting a fine arts museum, one may notice that figures depicted in historical paintings often point their fingers in very specific directions. Pointing gestures are among the most common and subtle visual devices in narrative art. For centuries, artists and art historians have assumed that such gestures effectively direct the gaze of the beholder toward key details of the story.
Until now, however, this assumption had never been tested empirically. Working in the field of experimental art history, French researcher Temenuzhka Dimova, a specialist in the language of gestures in art, conducted an eye-tracking study at the University of Vienna to investigate whether and how pointing fingers actually influence visual perception. Dimova selected a series of 16th- and 17th-century paintings containing multiple pointing hands and created altered versions of these works in which the pointing fingers were digitally removed. She then presented the original and edited images to two different groups of viewers and compared their eye movements.
Pointing fingers have a strong impact on visual Exploration
The results revealed that, although the pointing finger itself is a relatively small element within complex narrative scenes, it has a strong impact on visual exploration. Participants who viewed the original "pointing" versions showed significantly different eye-movement patterns from those who viewed the “no-pointing” versions. Interestingly, viewers did not spend much time looking directly at the fingers. Instead, they consistently examined the faces of the pointing figures. The identity and emotional expressions of these characters became an important focus of attention.
Another effect concerned the areas toward which the fingers were directed. These regions attracted more attention in the original versions of the paintings. However, viewers sometimes confused the intended target with nearby elements. In other words, pointing gestures triggered careful examination of particular areas, but did not always guarantee correct identification of the historical or narrative target. Finally, pointing gestures indirectly shaped the overall viewing process by creating unexpected visual connections between different characters and objects. The narrative relationships within the paintings were processed differently depending on whether the pointing fingers were present or absent.
