The Thinker and Pointing Man Pictures Analysis Essay

Introduction

The 20^th century has been particularly fascinating in terms of new art forms, methods of expression, and the overall changes that the artists were illustrating in their works. Sculpture, in particular, has changed not only based on its purpose and visual connotation but also the historical background that impacted sculptures in the 20^th century in regards to the symbolic meaning correlating this the visual art. Two prominent examples of sculptures that will be discussed in this paper are Auguste Rodin’s Thinker and Alberto Giacometti’s Pointing Man. The two sculptures, while being similar in the century in which they were constructed and the depiction of the human form, differ based on the artist’s aims, themes, and symbols that they represent. Thus, both The Thinker and Pointing Man depict human nature, yet while one represents the difficulties of change, the other one illustrates the human desire to replace the present with a brighter future.

Styles and Visual Characteristics

As mentioned prior, both The Thinker and Pointing Man are depictions of certain aspects of human nature. The Thinker depicts a Greek god-like figure sitting on a rock and reflecting, as exemplified by the position of the chin being placed on the back of the hand. Body language is a direct representation of a person being emerged in thoughts and contemplation. The sculpture, while being made of bronze, resembles Renaissance artwork similar to Michelangelo’s David. While it is not made of marble, the nudity and the heroic connotation implied refers to a similarity between the two. Thus, a level of realism and traditionalism is present. However, it is important to point out that The Thinker is also a depiction of impressionism due to the aspect of how the light reflects on the sculpture and the deviation from the traditional standards in sculpture. The Thinker, while depicting an attractive physical God-like appearance, goes deeper in regards to the emotional and psychological connotation. The figure is not idealized or portrayed as the perfect human representation, showing the complexity of human emotions, the burden of compilating on life, and the physical manifestation of internal feelings and thoughts. The human being illustrated by the artist is not a one-dimensional entity whose beauty is the center of attention. Instead, the color of bronze, the position, and the facial expression depict the hardship of maintaining consciousness and being human. Rationality becomes the circumstance in which the person has to be insightful and put thoughts into life, which was excellently illustrated in the sculpture.

Pointing Man is another sculpture in which human nature is depicted. Similar to Rodin’s The Thinker, Giacometti’s artwork is made of bronze, yet the visual similarities do not go further. In contrast with the person illustrated by Rodin, Giacometti has depicted an extremely frail, roughly constructed, and empty silhouette that stands tall. The figure points the finger in an unknown direction, making the sculpture look dynamic compared to The Thinker‘s stoic appearance and melancholic facial expression. While the sculpture does not portray a realistic overview of humans, the body that appears to be emaciated and ill refers to a wide range of emotions and inflicts a sense of hopelessness with a glimpse of optimism due to the direction which the finger points. While Raden’s impressionist style does not seek complete distortion of reality, Giacometti completely altered the human-like appearance and applied an expressionist approach to focus on inner feelings with a disregard of visuals. In this case, the visual aspect is solely used to exemplify subjective emotions, making symbolism the central idea. Human nature, in this case, is not represented through a realistic depiction but rather an abstract form resembling a person. The emotional ambiguity, however, becomes more prominent and allows people to switch from visual perception to a deeper, more emotional one.

Social and Historical Background

It is certain that art is, to some extent, influenced by the specific social and historical phenomenon that ultimately identifies the characteristics of the century. The 20^th century began with major social, economic, and technological changes that have impacted people, how they think, and how they perceive reality. Later on, the two world wars and the tension in the geopolitical arena have emerged, causing most world countries to suffer irreparable damage. The Thinker was made at the beginning of the 20^th century, a time in which humanity was contemplating the changes and alterations in the world, correlating with the specific time. Initially, it was believed that the sculpture is a representation of Dante (Divine Comedy), yet certain aspects suggest a representation of the general social changes in which people had to rethink their ways of life. Thus, Rodin’s work is a portrayal of the social phenomenon of isolation as perceived to be intellectually triggering. The symbol and personification of the individual portrayed by the sculptor represent the burden of intellectuals who were to emerge in a new era with changing standards and values. Thus, the lonely, reflective, and melancholic thinker illustrated the confusion and isolation the intellectual part of the population had in a society that is to experience the nuances of a new century.

Pointing Man is a sculpture that was conceived later, after WWII. Needless to say, the thin and emaciated figure resembles the body of a concentration camp survivor. The survival aspect is illustrated through the pointing finger, which depicts hope for a better future and an optimistic path towards a better life. The vulnerable and frail state of the world was most clearly evident by the people’s desperation and an aim for change. Giacometti perfectly illustrated both the vulnerability through the emaciated figure and the desire to strive for better through the gesture. As a result, the skeletal person overcomes the present by having a vision of the future. Compared to the melancholy and reflective thinker, the pointing man is a person who is optimistic, dreamy, and confident in the direction that is to be pursued. Thus, the thinker is rational in the pessimistic understanding of the world, being emerged in imaginary sadness and contemplation. The pointing man, on the other hand, has experienced all the hardship, and although the reality is tough, there is hope for change and a path towards happiness.

Artist and Techniques

Rodin was a well-established artist when creating his most famous piece. It is essential to note that while the beginning of the 19^th century was primarily represented by artists willing to break traditional rules, Rodin remained somewhat classical in his approach and, as mentioned prior, rethought the marble sculptures depicting Greek gods. With a relatively naturalistic approach yet an emotional addition to the human form, Rodin’s work had both the simplicity of reality and the death of a psychological connotation to his sculptures. The combination of both is an excellent representation of the 20^th century, beginning with a transitional period from the more traditional impressionist to the more distorted expressionism.

On the other hand, Giacometti was known for nuanced approaches and subjective implications in his work. Thus, the artist was looking for a style that would alter the human form and focus on the emotional aspect of what the sculptor is willing to express. Thus, the use of plaster molds gives the Pointing Man a somewhat archaic yet modern appearance that embodies symbolism. Giacometti, compared to Rodin, was less inspired by traditional art, seeking to create something completely unique and unprecedented. The artist found the style that best illustrates his artistic aspirations through sculptures similar to the Pointing Man, their slender and ill figures act as visual representations of emotional responses to the world. Hence, both sculptors adopted a slightly nuanced approach, yet Giacometti was more experimental and unique with the technique that he used and the complete works that contrast with those of Rodin.

Conclusion

Rodin and Giacometti are two famous sculptures that contributed to the defining of 20^th-century art as unique and impossible to replicate. Both The Thinker and Pointing Man are sculptures embodying aspects of human nature, one illustrating its suffering through contemplation while the other shows the light at the end of the tunnel. The two bronze sculptures differ based on the style, the aim, and the symbolic connotation. At the same time, both pieces of art are deep in their referral to the complexity of people, their ability to perceive reality, and the desire to find an answer to rhetorical yet essential questions of existence.

References

Giacometti, Alberto. “Pointing Man”. Image. MoMA. Web.

Orasanu, Brindusa. “The Demiurge and the Tightrope Walker: Brâncuşi and Giacometti, by Vladimir Marinov.” Romanian Journal of Psycoanalysis 11, no. 1 (2018): 189–94. Web.

Rodin, Auguste. “The Thinker”. Image. National Gallery of Art. Web.

Vujanovic, Barbara. “Rethinking Rodin’s Thinker.” The Decorative Arts Society Journal , 2019, 61–77.