Visitors to a fine arts museum 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.

In this painting, the figure seated on the right points at the card-player while laughing, a gesture that underscores his mockery of the young man’s naïveté. The more experienced player, together with the old man on the left, may be acting as accomplices, potentially exchanging covert signals to reveal the young player’s cards. Scenes involving deceit and cheating in games of chance were frequent motifs in early modern paintings.

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.

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.

Overall, the study demonstrates that depicted pointing gestures strongly influence viewers’ attention, but not in the simple, linear way previously assumed. Rather than guiding the gaze directly from point A (the finger) to point B (the target), they systematically restructure how the entire story is perceived, leading to a richer and more informed visual experience of Old Master paintings.

These findings can inform museum display strategies and art education by highlighting how subtle visual cues shape viewers’ attention and interpretation. They also offer valuable insights for contemporary visual communication, from digital design to storytelling, by revealing how gestures can structure the way images are explored and understood.

Summary:

• Pointing gestures in Old Master paintings significantly influence how viewers visually explore the scene.
• Viewers are drawn to the faces of the pointing characters.
• Areas indicated by pointing gestures receive increased attention, but viewers do not always correctly identify the intended narrative target.
• The presence of pointing fingers reshapes overall viewing patterns, creating unexpected visual connections between characters and objects.
• The study provides the first empirical evidence that pointing gestures influence perception in paintings by reorganizing attention toward faces, targets, and narrative relationships, rather than simply directing the gaze in a straight line from the finger to a single object.

Click on this link to access, Brief glance, lasting effect: How pointing gestures influence the perception of paintings, published in Psychology of Aesthetics Creativity and the Arts.