Wanderer Above a Sea of Fog by Friedrich

Romanticism

Apr 1

“The Artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should refrain from painting that which he sees before him.”
**-Caspar David Friedrich**

The Wanderer

German artist Caspar David Friedrich was famous for his works during the Romantic Art Period, an artistic and intellectual period that emerged as a reaction against the enlightenment by rejecting reason, prioritizing emotion, imagination and attraction to the sublime. Well known works include Abbey in an Oak Forest, Moonrise Over the Sea, and most famously, Wanderer Above a Sea of Fog. All of these paintings share two defining characteristics of the Romantic period: first, an emphasis on the sublime and nature, second, using it as a vehicle for conveying a deeper message. Friedrich’s work is a hallmark of Romantic landscapes and exemplifies these themes perfectly.

Wanderer Above a Sea of Fog depicts a figure in the Rückenfigur pose, a composite device that depicts a figure or person from behind, looking forward to the scene. The term is German for “back figure”. This technique serves as a placeholder for the viewer, allowing them to project themselves as the unknown faceless figure as they direct attention to the mystic landscape (Rückenfigur Pose Artsy net). The figure has blond-red hair and appears to be wearing a dark green suit, similar to the German apparel of the time. He is depicted with a cane and placed in the center vertical composition of the canvas. The man's posture is upright and contemplative at the same time which could suggest both dominion over the mystic landscape and a sense of being lost within oneself, reflecting the Romantic ideal of a man’s power and the insignificance of it when presented in the face of nature. The painting is divided into three thirds with the unnamed figure directly in the middle, and the third above is illustrated with light grey clouds and the lower third with fog contrasted with the rocky precipice in foreground that produce a triangular shape where the figure stands. The foreground, fog in the distance, and the figure at the end on the rocks make it appear like an allegory for a figure being on the bow of a ship in the ocean. Some nearer mountains attempt to emerge from the surrounding clouds, and their darker, more saturated tones create a striking contrast as they grapple to assert their presence in the painting. The distant landscape fades in saturation beyond the middle horizon employing atmospheric perspective to create depth. (Northern European Atmospheric/Aerial Perspective) Friedrich’s color palette enhances the dreamlike atmosphere illustrated in the painting, infusing it with a mysterious and enigmatic quality reminiscent of his other works and Romantic landscapes of his time. The important objects like the unknown man and mountains are depicted with sharp, saturated edges, maintaining clarity without overwhelming the viewer. This contrasts with soft, dreamlike clouds rendered in muted white and light gray tones, with some addition of a dark blue. The man’s scale, nearly equal to or surpassing the surrounding mountains, reinforces themes of nature’s grandeur and the sublime. In most of his paintings the figure would be small, but this one shows him equaling the size or even surpassing the size of the scenery around him, possibly alluding that he is prepared for his journey. This painting invites the viewer to step into the unknown wanderer’s place, supported by his Rückenfigure pose, evoking a personal journey of self-reflection, wonder, and search for meaning amidst the unknown.

Friedrich’s Wanderer Above the Sea of Fog successfully employs key principles of design to deliver emotion and support the viewer’s eye through the composition, seamlessly marrying both aspects. Firstly, it utilizes rhythm and movement through its use of line, most notably in the background mountain in the middle of the composition pointing slightly downward toward the human figure. Some clouds beneath it also support this effect. Additionally, the triangular shape from the precipice rocks directs movement toward the figure. Together, these features produce orthogonal lines that guide the viewer's eye across this composition, placing emphasis on the central figure. Balance is achieved in this painting through the central placement of the unknown figure. He is perfectly balanced vertically, and in the central horizon of the canvas. Contrast is illustrated in the interchange between dark, sharply detailed rocks and the light midst of ethereal fog, creating depth in the painting. Emphasis is placed on the wanderer with his dark suit and silhouette evidently standing out against the soft pale mist, while also bringing attention to his contemplative pose. Lastly, unity and variety are demonstrated through the use of the muted color palette, which pleasantly combines light cool blue-grey and dark warm brown, and the use of atmospheric perspective. Additionally, the figure’s scale being on par and balanced with the vast scenery, reinforces the theme of introspection and the sublime power of nature.

History and Context

The Wanderer Above a Sea of Fog could be classified as a landscape by its use of the astonishing mountain landscape flooded by a thick midst of clouds. It could also be classified as a portrait of a person which is supported by the placement of its rückenfigur at the center of the composition vertically and horizontally. Caspar David Friedrich was certainly interested in combining aspects of the natural world and a figure with it, a romantic staple (Great Art Explained Video). Nevertheless, the painting has been interpreted as a nationalist piece that takes pride in its location, Germany. It is suggested to be a German landscape.

In 9 A.D., Germanic tribes ambushed and defeated the most powerful Roman army led by Roman politician and general Publius Quinctilius Varus. The Germanic tribes were led by Arminius who successfully destroyed 3 Roman legions and their command, stopping them from crossing east of the Rhine River and ultimately halting Roman expansion into Germania. This was known as the Battle of the Teutoburg Forest.(Britannica Teutoburg Forest) The tribes not only used their environment and landscape to their advantage, but their teamwork since previously they did not work together, resulting in a sense of unity and forming an alliance against the powerful Roman Empire. This is a story of German unity since this victory established the belief that the Teutoburg Forest and land surrounding it was on the side of the Germanic tribes. A profound attachment to nature and German landscape has been part of their culture ever since. 1800 years later Germany finds itself in a similar situation where the collection of states are yet to be unified.

Additionally, Friedrich completed this painting in 1818, three years after Napoleon surrendered in Waterloo. Some scholars have suggested that the figure in dark green German attire is actually Colonel Friedrich Gotthard von Brincken which further supports the theory that this painting is possibly a tribute to that man who fought under King of Prussia and or that this is a nationalist work about German unification (Artsy - Wanderer).

Friedrich did not depict the background mountains as a direct representation of a single location, but rather several landscapes he observed, particularly the sandstone mountains along the German-Czech border southeast of Dresden. Other mountain peak locations include Rosenberg, Rathen, Zirkelstein, and Kaiserkrone, all near the border. As he traveled around Dresden, Germany, he would take these mountains and then interpret them into his studio and incorporate them onto the canvas (Great Art Explained)(Artsy - Wander). This method reflects his approach to Romantic landscape painting where nature is not just recorded, but rather manipulated to evoke emotion and a deeper meaning.

This painting is pretty conventional and similar to other works by Friedrich where it involves a character and a sublime scene. However this painting shows the figure to be significantly larger in scale with the landscape as opposed to other works where the figure would be about a fraction of the composition. The Wanderer Above a Sea of Fog has a mix of beauty and terror illustrated in many of Friedrich’s works which could be explained by his own personal anecdotes of losing loved ones like his year old brother Johann Christoffer, while he was 13 years of age at the time (Britannica Wanderer).

His personal experiences of nature helped reinforce his relation to his Lutheran Christian faith as seen in most of his works. They are solemn and have the appearance of sacredness shared in places of worship where silence, contemplation are required by the audience. A prime example of this is Abbey in the Oak Forest which is a clear landscape painting with a religious undertone said to be about mourning and grief. This monochromatic painting is open to a lot of ambiguity and it features a funeral in the winter and excess fog, a recurring feature of his paintings. Most importantly, this painting embodies Pantheism, the belief that God is omnipresent everywhere and anything that exists is a direct manifestation of the divine, especially nature (Britannica Pantheism). It was a belief that Friedrich frequently demonstrated in his works of art.

During the era of Romanticism, many poets and philosophers embraced this belief, merging the concept of a superior being with the natural world. Many German artists in this time, who were Lutherans were “especially attracted to nature, where they could also communicate directly to God without the need of a Catholic priest as intermediary” (Kliener, 809). This verifies the idea that Romantic Painters used the landscape in paintings not just as visual subjects, but as a means of expressing deeper moral, philosophical, or religious concepts.

Interpretations and Symbolism

Friedrich’s Wanderer Above the Sea of Fog is open to a lot of ambiguity starting with the fact that the figure illustrated has his back to the viewer, covering his unknown face. The midst of the sea of fog also covers what could lay ahead. It is these mysteries that allows the viewer to wonder what could this possibly be about and is there a narrative behind this, or maybe just an esoteric portrait that only Friedrich knows.

Some interpret this painting as a man reflecting on the long journey behind him; however there is little evidence to suggest that he actually traveled from the landscape he observes. A more compelling interpretation is that he stands at the threshold of the unknown, contemplating on his future ahead. Some scholars argue that based on his coat and traditional German attire, this figure could be the previously mentioned Colonel Friedrich Gotthard von Brincken and understanding the context could possibly support this theory about being a short commemoration portrait for him. Others propose that the character is actually Caspar David Friedrich himself! This could be because the figure resembles his own features, particularly his hairstyle and posture, based on contemporary portraits of himself. Furthermore, Friedrich often infused his work with symbolic elements from his personal life, making it plausible that the figure could be reflecting on his own philosophical views, thus classifying the painting as a self portrait.

However, my interpretation is that this painting is ultimately about introspection, a theme conveyed through Rückenfigur gazing ahead at the scene. The brilliance of this compositional device lies in its ability to invite viewers to project themselves onto the figure, allowing them to engage with the artwork on a deeply personal level. This painting evokes a sense of deep contemplation about the unknown future, a universal concern. More specifically, it may reflect the apprehension and anticipation of venturing into unfamiliar territory. The composition reminds me of someone standing at the bow of a ship, embarking on a journey to a new place, expressing both uncertainty and determination. While Wanderer Above the Sea of Fog carries political and historical undertones that likely resonated with the local and contemporary audience, its core message of self-reflection and introspection remains timeless. It is this enduring relevance that makes the artwork so compelling since humans never want to stop looking forward to the future.

Vocab

Romanticism-The Romantic Period was an artistic and intellectual movement that emerged in late 18th century Europe, reacting against the Enlightenment's emphasis on reason and order by prioritizing emotion, imagination, individualism, and a deep connection to nature, often expressing a fascination with the sublime and the supernatural.

Rückenfigur- A composite device that depicts a figure or person from behind, looking forward to the scene. The term is German for “back figure”. This technique serves as a placeholder for the viewer, allowing them to project themselves into the scene.

Atmospheric Perspective- An artistic technique that creates the illusion of depth, by making objects less distinct, with desaturated colors and a bluish hue due to effects of atmosphere.

Teutoburg Forest- A forest in North-West Germany, covering parts of lower Saxony and North Rhine-Westphalia . It holds historical significance in German history where Germanic tribes, led by Arminius, defeated the powerful Roman army in 9 AD, halting their expansion to Germany.

Pantheism-The belief that God is omnipresent everywhere and anything that exists is a direct manifestation of the divine, including especially nature

Sources

Gardner’s Art Through the Ages (15th edition) by Fred S. Kleiner

Pages 801-810

Janson's Basic History of Western Art 9th Edition

Pages 490–491

Romanticism, Britannica

https://www.britannica.com/art/Romanticism

Caspar David Friedrich, Britannica

https://www.britannica.com/biography/Caspar-David-Friedrich

Wanderer Above the Sea of Fog

https://www.britannica.com/topic/Wanderer-Above-the-Sea-of-Fog

Battle of Teutoburg Forest, Britannica