where is the wanderer above the sea of fog at
With the composition of the figure’s back placed towards the observer otherwise known as Rückenfigur,  it allows the observer to gain insight into Friedrich’s experience.  Friedrich himself states his ideas in regards to this, “The artist should paint not only what he has in front of him but also what he sees inside himself.” 
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”. 
Locating and representing the moods of nature was Friedrich’s underpinning as an artist. Born is 1774 in the harbour town of Greifswald, his first subjects were the wild Baltic coastlands of northeastern Germany. Gradually, his depictions of nature began to contain crosses, Gothic buildings and religious motifs reflecting his strict Lutheran upbringing. With these symbols he found a means of heightening the intensity of landscape to a level where it seems heavy with allegory. He often ‘invented’ his paintings by fusing together several sketches from different locations into one image, sometimes even using the sketches made by other artists to fulfill his vision.
Friedrich used landscape as a way of expressing profound experience, and was able to link this to his protestant background. Yet even in his early output, it was clear that his sensibility allowed for a greater array of moods and possibilities than just religious veneration. His later work explored the spiritual side of humankind on a more universal level: face to face with the mystery and loneliness of great landscapes, a pensive glorification of nature in all its sublime and frightening grandeur.
A small work measuring only 8 ? x 12 inches, Morning was intended to be part of a cycle of the times of day. It is a scene of quiet stillness that evokes the early morning. The mist lies low, wrapping around the pine trees in the midground, but beyond the sun rises above the distant mountains. In the foreground, a lone figure rows a boat, perhaps setting out from the small house whose roof is just visible about the fog. The sky is awash in the colors cast by the rising sun: yellow, orange, violet, and soft pinks.
This new way of creating landscapes reinforced the idea that the viewer should contemplate the sublimity of the natural world and read into it an expression of the spiritual. The potential for deep meaning in a sparse, non-narrative style, would be critical to modernist abstraction. This painting, in particular, has been linked with the post World War II Color Field paintings of Mark Rothko, also intended to cultivate a spiritual experience for the viewer.
Caspar David Friedrich
Wanderer above the Sea of Fog
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”.
In the foreground, a young man stands upon a rocky precipice with 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.