Rückenfigur And Its Powerful Effects

Unpacking the 19th-Century Rückenfigur Motif: A Deep Dive into How this Artistic Technique Transcends Time and Genre to Evoke Abstract Concepts and Emotional Complexity.

Introduction

(The Wanderer Above The Sea of Fog, Caspar David Friedrich, 1818)

Can a figure with its back turned to us teach us more than a face would? The Rückenfigur, a painting motif popularized during the 19th century, offers a different, wider, and more abstract approach to painting. This motif employs the human figure as a tool to discuss abstract notions such as the human condition and various emotional states, including awe, wonder, peace, grief, and loneliness.

The motif is used to explore the world from a metaphysical perspective. In some paintings, such as the one depicted above, it raises questions like 'What is man?' 'What is man's place in nature?' 'Should he climb mountains and reach high summits?' 'Is there a limit to man's abilities?' 'What limits those abilities—Nature? God?'

Rückenfigur is powerful because it combines an abstract perspective on the world with the ability to resonate with the viewer. It transcends the transience of any particular man while still being relatable. One can easily imagine oneself in the place of 'The Wanderer.' It doesn't matter if you live in the 19th, 20th, or 21st centuries; "The Wanderer" will always remain relevant.

This essay will examine this unique motif, using different examples to explore how it has addressed these profound, timeless, and universal issues.

What Is “Rückenfigur”?

(Edvard Munch, The Scream, 1893)

Rückenfigur literally means “back figure”—human figures depicted from behind. While it doesn’t always have to be entirely from the back, as long as the face of the figure is not visible, it should be considered a back figure.

It’s important to mention that if there are many characters in the frame, and only one of them is shown from behind, that’s not the kind of back figure this article addresses. Here, we are talking about examples where the main character is shown from behind.

Why would painters depict humans from behind?

It reinforces their ability to insert more abstract ideas into their art. Think about “The Scream” by Edvard Munch; it’s obvious how the figure felt then. It makes the emotion of that character the main subject of the art. But when there’s no visible facial expression, we must rely on other things to determine what’s happening.

How to Feel Without a Face

(Isle of the Dead, Arnold Böcklin, 1883)

Take a look at “Isle of the Dead” by Arnold Böcklin. We don’t know what the expressions of the human figures are. However, we can still tell what is going on using other hints, such as the cold palette, the clothes of the figures, the coffin on the boat, the title of the work, and the fact that the island itself resembles a cemetery. All these elements enable us, the viewers, to tell what is happening inside the frame without knowing exactly how the figures feel. We can take a guess and assume that it is most likely about death and grief.

The Rückenfigur helps Böcklin build the suspense and mysterious atmosphere he masterfully achieves here. The faces of the figures are part of that mystery. Who are these people? What is this island? We are only left with guesses. It’s up to us to figure it out.

(Morning on the Elbe, Carl Gustav Carus, 1827)

On top of the atmospheric contributions the Rückenfigur provides, it enables the viewers to experience the character's emotional state more directly. The viewers don’t need to overcome any particular attributes that might disturb or disconnect them from the characters.

Think about the example of “The Wanderer” from the introduction. What makes that painting so powerful is that it’s very easy for every one of us to “step into that painting” ourselves. Thus, we can experience the emotional aspect of the painting more directly. We become that character.

Of course, we can also see ourselves as “The Scream.” Undoubtedly, some of us felt similarly at some point. Nevertheless, the face serves as a mediator between us and the painting, transcribing what specific feelings we should feel when looking at the image. With a Rückenfigur, especially one such as that from “The Wanderer,” the emotional range is significantly wider. We can imagine how we would feel if we were in that same scene. It could be either positive or negative. It doesn’t matter. The point is that the Rückenfigur makes the painting far more relatable and has a more comprehensive emotional spectrum, thus making the painting’s effect much more powerful.

(For more of my thoughts about “The Wanderer,” I recommend checking out this essay.)

Man and Nature

(The Monk by the Sea, Caspar David Friedrich, 1810)

Rückenfigur enables the painter to address humans from a more abstract perspective; the painter is no longer talking about that specific man as an individual but rather what he represents: Man as such. It turns the figure into an abstraction. That abstraction can only be understood in the context of its surroundings. Instead of a painting about Hans, the monk who wandered about on the beach, it becomes a painting about man’s relationship with nature.

In “The Monk by the Sea” by Friedrich, we see a vast sea and sky that almost entirely absorb the small monk in the center of the composition. What does that mean? God is infinite and all-powerful. Man, in comparison, is insignificant. We don’t need to see the face of the monk. That’s not the point. This painting is essentially a metaphysical comparison between God and man. It’s an examination of man’s place in nature.

Notice how unique this painting is. Everything in it is an abstraction. There are no landmarks or particular characteristics to anything. This could be anywhere at any time. And the Rückenfigur is a vital part of that. Friedrich managed to achieve an almost purely metaphysical painting.

Loneliness 

(Embroidery woman, Georg Friedrich Kersting, 1817) 

Another topic that Rückenfigur helps a painter depict is loneliness. It's difficult for the viewer to connect with the figure without a visible face. “Embroidery Woman” by Georg Friedrich Kersting is an excellent example of that. Despite being displayed in a public museum, the woman somehow manages to keep to herself. The Rückenfigur motif thus becomes a powerful tool for conveying the theme of loneliness.

In some scenes, the figure is literally alone, like the one depicted in the Kersting painting above. In other settings, there can be many people present. Yet the Rückenfigur makes it possible for us to realize that our hero is actually alone. One great example of this is “Nighthawks” by Edward Hopper.

(Nighthawks, Edward Hopper, 1942)

Few paintings can capture a seemingly ordinary moment in life so masterfully. Despite living in a big city and being inside a diner, the character in the center of the frame is alone. There’s nobody in the streets; there are no lights outside, only inside the restaurant. And inside that diner, there are three other figures. They seem to be engaging with one another, but nobody is engaging with our Rückenfigur. He is in his own world, detached from his surroundings.

We don’t know what his expression is like. It could be that he enjoys being alone. It doesn’t matter. The point is that he is alone. This portrayal of loneliness would have been challenging to execute as powerfully without the Rückenfigur.

Conclusion

(Christina's World, Andrew Wyeth, 1948)

The Rückenfigur motif offers more than a stylistic choice; it opens the door to complex themes like loneliness, grief, and man's relationship with nature. From Friedrich's expansive landscapes to Hopper's urban scenes, this technique lets us explore both the specific and the universal. It turns a painting into a visual experience and a dialogue on the human condition, inviting the viewer to engage with the artwork in a deeper, more thoughtful way.

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