Wanderer above the Sea of Fog
|Artist||Caspar David Friedrich|
|Dimensions||98.4 cm × 74.8 cm (37.3 in × 29.4 in)|
|Location||Kunsthalle Hamburg, Hamburg, Germany|
Wanderer above the Sea of Fog (German: Der Wanderer über dem Nebelmeer; also known as Wanderer Above the Mist) is an oil painting composed in 1818 by the German Romantic artist Caspar David Friedrich. It currently resides in the Kunsthalle Hamburg in Hamburg, Germany.
In the foreground, a young man stands upon a rocky precipice, his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a landscape covered in a thick sea of fog. In the middle ground, several other ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the east. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.
The painting is composed of various elements from the mountains of the Elbsandsteingebirge in Saxony and Bohemia, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the Zirkelstein. The mountain in the background to the left could be either the Rosenberg or the Kaltenberg. The group of rocks in front of it represent the Gamrig near Rathen. The rocks on which the traveller stands are a group on the Kaiserkrone.
Wanderer above the Sea of Fog is true to the Romantic style and Friedrich's style in particular, being similar to other works such as Chalk Cliffs on Rügen and The Sea of Ice. Gorra's (2004) analysis was that the message conveyed by the painting is one of Kantian self-reflection, expressed through the wanderer's gazings into the murkiness of the sea of fog. Dembo (2001) sympathised, asserting that Wanderer presents a metaphor for the unknown future. Gaddis (2004) felt that the impression the wanderer's position atop the precipice and before the twisted outlook leaves "is contradictory, suggesting at once mastery over a landscape and the insignificance of the individual within it."
Some meaning of this work is lost in the translation of its title. In German, the title is "Wanderer über dem Nebelmeer." Wanderer in German can mean either "wanderer" or "hiker."
The painting has been reused repeatedly, for instance to promote a Canadian musical. It was used as the cover of the board game Fantastiqa. The title of the painting is the name of a song in Wolves in the Throne Room's 2009 album Black Cascade. In 2008, the painting was used as inspiration for the promotional image of David Tennant as Hamlet at the RSC. 
- Gaddis, John Lewis (2004). The Landscape of History. Oxford University Press US. pp. 1–2. ISBN 0-19-517157-8.
- Gorra, Michael Edward (2004). The Bells in Their Silence. Princeton University Press. pp. xi–xii. ISBN 0-691-11765-9.
- K.-L. Hoch: Caspar David Friedrich und die böhmischen Berge. Dresden 1987
- Gunderson, Jessica (2008). Romanticism. The Creative Company. p. 7. ISBN 1-58341-613-7.
- Dembo, Ron S.; Andrew Freeman (2001). The Rules of Risk. John Wiley and Sons. p. 10. ISBN 0-471-40163-3.
- Black, Joseph (2010), The Broadview Anthology of British Literature: The Age of Romanticism, Broadview Press, ISBN 978-1-55111-404-0, retrieved 2011-10-02
- 'Wanderer above the Sea of Fog' Analysis
- Sketches for the painting (German)
- Idrobo, Carlos (2012), He Who Is Leaving … The Figure of the Wanderer in Nietzsche’s Also sprach Zarathustra and Caspar David Friedrich’s Der Wanderer über dem Nebelmeer, in: Nietzsche-Studien Band 41, Heft 1, Seiten 78–103, ISSN (Online) 1613-0790, ISSN (Print) 0342-1422, DOI: 10.1515/niet.2012.41.1.78, November 2012.