what is one aspect of renaissance of the painting wanderer above the sea of fog
Media related to Der Wanderer über dem Nebelmeer at Wikimedia Commons
Robert Macfarlane discusses the painting in terms of its significant influence on how mountain climbing has been viewed in the Western world since the Romantic era, calling it the “archetypical image of the mountain-climbing visionary”, and describing its power in representing the concept that standing on mountain tops is something to be admired, an idea which barely existed in earlier centuries. 
Like so many of paintings by the German Romantic painter Caspar David Friedrich, the images focuses on a person gazing out over nature. We gaze out alongside him, a few paces behind perhaps, but still a companion in the moment. The terms for this device is Rückenfigur, or figure seen from behind, a compositional device by which the viewer can more readily identify with the scene.
The man himself appears to have hiked up this mountain and now looks out over the precipice at the heights he has scaled. He is an explorer — though we sense driven more by romantic sensibility than by any professional pursuit. The way his hair catches in the wind, his overtly noble stance with one leg raised, his frock coat and walking cane, all give the impression of a well-to-do town-dweller who has chosen to spend time in the wilds of nature rather than human society.
The painting of the wanderer above the sea of fog is a work of creative exploration and internal integration, an artistic expression of a higher self — the supreme wisdom of total integration which forms the basis for real individualism. The fully integrated individual constitutes a higher man — what Friedrich Nietzsche would later call an übermensch (‘overman,’ ‘superman’) who is able to transcend his mere humanity.
“I teach you the overman. Man is something that shall be overcome. What have you done to overcome him?… All beings so far have created something beyond themselves; and do you want to be the ebb of this great flood, and even go back to the beasts rather than overcome man? What is ape to man? A laughing stock or painful embarrassment. And man shall be that to overman: a laughingstock or painful embarrassment. You have made your way from worm to man, and much in you is still worm. Once you were apes, and even now, too, man is more ape than any ape… The overman is the meaning of the earth. Let your will say: the overman shall be the meaning of the earth… Man is a rope, tied between beast and overman — a rope over an abyss … what is great in man is that he is a bridge and not an end.” -Friedrich Nietzsche, ‘Thus Spake Zarathustra’
Now, look at the distant mountains. In general, this area is much softer than the foreground. But, the relationships are the same—the edges of the mountains are harder than the fog, clouds, and sky.
Unlike most landscape paintings, Wanderer Above the Sea of Fog has portrait dimensions (taller than it is wide). This reiterates the upright stance of the man around the center.
It was, however, at the Berghof, which he’d bought and developed with proceeds from Mein Kampf, that he spent most time. Before the vast window, he would lay out his maps and stare at the Untersberg, inside which, competing legends have it, the medieval conquerors Charlemagne and Barbarossa lie in slumber (the latter providing the code name for Hitler’s catastrophic invasion of the Soviet Union). When the victorious Americans took their photographs, framed in the vast viewing space, the mountain shone dazzling light onto a burnt-out husk. It was a scene of both hubris and nemesis that charted back to a single painting.
A warped path from Caspar David Friedrich to Adolf Hitler arrives at the dark heart of German Romanticism. Does a painting represent human triumph or a humbling? The answer is in the ideological eye of the beholder.