COVE

Wanderer Above the Sea of Fog, by Caspar David Friedrich depicts a man standing on a rocky cliff face looking out over a landscape obscured by fog. It was painted in 1818 and is representative of Romantic era artwork. When we examine the painting, the middle third is dominated by the Wanderer and the rocks he stands upon, with the adjacent two thirds devoted to the obscured landscape. We've talked about concepts of space in class, and it's significant that so much space in this painting is devoted as equally to an obscure landscape as it is to the Wanderer if not more so. And yet there is a definite sensation we get while looking at this painting that draws the eye and is a sensation we can almost feel in our bones.

The artist puts this into words by saying "A picture must not be invented, it must be felt" (Prodger 90). Friedrich was known for his depiction of landscapes, and this could very well be inspired by or be a real depiction of one. But the artist says that isn't the point. Critics say that we should look at his landscapes not as "decipherable symbols but as carriers of sensation" (90), and that Friedrich didn't want to just faithfully reflect the landscape, "but rather to reflect his soul" (90). This approach to art is definitely reflective of the Romantic era in that so many of the ideas we get from them are so self conscious and self reflective, often using nature as a catalyst for that introspection. We can see evidence of this in the painting because the landscape itself is obscured by fog, while the man isn't. We see only his back, and the viewer gets the impression that for such a thoughtful pose coming from this Wanderer, that contemplation is taking place, but perhaps not merely that over the wonder of the details of the view. "It appears, thus, that Friedrich sought not merely to explore the blissful enjoyment of a beautiful view but rather to have an encounter with the spiritual Self through the contemplation of nature (Gaete 61). 

While researching this painting, I kept thinking about "The Thorn" by William Wordsworth. In that poem, Wordsworth uses a focused point of view to establish the landscape around the thorn, before slowly zooming out, giving us more and more details until we can see how human and emotional this all is. It's an exploration of a genuine human experience (albeit a painful one), depicted through the lens of a landscape. I argue that Friedrich is doing something similar here with point of view in this painting. The way that the landscape is depicted here makes sure that the viewer will see how human this painting is. BUT, I don't believe this would happen if Friedrich wasn't able to make good on his desire to depict a sensation rather than a landscape. 

The research about this painting wouldn't be complete without some mention of the idea of the sublime in Romantic era poetry and art. This aspect of Romantic era art is deeply connected to nature and how its beauty and treachery can force a perspective change in those who truly experience it. Equal parts agony and ecstasy. This painting surely depicts that feeling of the sublime and its connection to nature in the sensation of the treacherous cliffside the Wanderer stands upon. As someone with a fear of heights, I wonder if other people feel the way I do when I really look at this painting, because I really do feel a slight tingling of fear while looking at this painting when I put myself in as the Wanderer. Yet there is undoubtedly a feeling of wonder over the landscape below, one that I seem to feel even to my bones. I definitely understand now why this painting has become so symbolic of the Romantic era, as it seems to capture so many of the elements of it in a relatively simple painting.

Works Cited:
Gaete, Miguel Angel. “From Caspar David Friedrich’s Wanderer above the Sea of Fog to the ICloud: A Comparative Analysis between the Romantic Concept of the Sublime and Cyberspace.” Journal of Comparative Literature and Aesthetics, vol. 43, no. 2, June 2020, p. 59. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edsgac&AN=edsgac.A643530332&site=eds-live.

Prodger, Michael. “A Solitude Shared: How Caspar David Friedrich Searched the German Landscape for Reflections of His Soul.” New Statesman, vol. 149, no. 5530–5533, July 2020, p. 90. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=edsglr&AN=edsglr.A632298532&site=eds-live.