The expressive and slim figure style in Vigeland's early works gradually gave way to a greater harmony in both form and subject matter. The form became calmer and fuller, and this development points towards Vigeland's later style.
Although Vigeland in his early works struggeled to obtain realistic proportions, the desire for anatomical analysis and natural representation was never a goal in itself. He was seeking the inner experience, often in the relationship between man and woman. Young man and woman (1906) is one of many examples. The couple stand close together, but nevertheless look past each other, thoughtful, as if in a world of their own.
Vigeland has given Norwegian sculpture some of the finest portrayals of the eternal theme on the relationship between man and woman. In these groups he tells of melancholy, devotion, ecstatic rapture and deep pain, occasionally happiness, but rarely joy.