Pointing fingers in Renaissance and Baroque paintings don't just symbolically direct the viewer's gaze—they actually measurably influence how people perceive and examine artworks. This groundbreaking finding comes from an innovative eye-tracking project conducted at the University of Vienna under the leadership of art historian Temenuzhka Dimova. The research focused on whether so-called deictic gestures in paintings—deliberately employed pointing movements—have a measurable impact on visual perception of artwork.
The study was part of the Austrian Science Fund (FWF)-supported project called "Following the Festaiuolo," which was carried out at the CReA Lab, the Laboratory for Cognitive Research in Art History. Dimova and her team investigated whether these intentional pointing gestures in classical paintings could scientifically demonstrate their effectiveness in guiding viewers' attention to specific areas of the artwork.
For the comprehensive experiment, Dimova tested 165 participants divided into three distinct groups: laypeople without art education, art history students, and deaf individuals who use sign language. Using sophisticated eye-tracking technology, researchers monitored which areas of paintings participants looked at first and how long they spent examining different sections. The methodology involved comparing original paintings featuring prominent pointing gestures with digitally modified versions where these gestures had been removed.
The results proved remarkably revealing. Even a brief half-glance at a pointing gesture was sufficient to direct attention toward relevant areas of the painting. Without these visual cues, laypeople showed significantly less focus on the central content and important elements of the artworks. This finding demonstrates the powerful psychological impact that Renaissance and Baroque artists achieved through their deliberate use of directional gestures.
While art history students and deaf participants displayed more detailed scanning patterns when examining the paintings, laypeople showed considerably more limited visual perception. Interestingly, deaf individuals analyzed paintings with similar precision to art experts—a result that Dimova attributes to their visual language competency developed through sign language use. "They look at pictures similarly to people who know exactly what's important in a painting," she explained.
The research project aimed not only to verify art historical theories but also to provide new insights for accessible art education and museum practices. Based on her findings, Dimova encourages deaf individuals to pursue careers in art history fields—whether as researchers, educators, or curators—given their demonstrated visual analysis skills. The study opens new possibilities for understanding how classical artists deliberately crafted their works to guide viewer attention and how modern institutions can better serve diverse audiences in art appreciation.
