If you ask philosophers – those in the English speaking analytic tradition anyway – who is the most important philosopher of the twentieth century, they will most likely name Ludwig Wittgenstein. But the chances are that if you ask them exactly why he was so important, they will be unable to tell you. Moreover, in their own philosophical practice it will be rare, certainly these days, that they mention him or his work. Indeed, they may very fluently introduce positions, against which Wittgenstein launched powerful arguments: the very arguments which, by general agreement, make him such an important philosopher. Contemporary philosophers don’t argue with Wittgenstein. Rather they bypass him. Wittgenstein has a deeply ambivalent status – he has authority, but not influence.
For the more general reader, Wittgenstein’s status in contemporary philosophy will be puzzling. The general view is that Wittgenstein is surely the very model of a great philosopher. The perception is that he is difficult, obscure and intense, severe and mystical, charismatic and strange, driven and tragic, with his charisma and difficulty bound up with his character and his life. Wittgenstein saw philosophy not just as a vocation, but as a way of life he had to lead. This is perhaps why writers and artists have found him an object of fascination and inspiration. He is the subject of novels, poetry, plays, painting, music, sculpture and films. In the arts and the culture generally, Wittgenstein seems to be what a philosopher ought to be.