which one of these paintings is not by caspar david friedrich
Wanderer above the Sea of Fog (German: Der Wanderer über dem Nebelmeer), also known as Wanderer above the Mist or Mountaineer in a Misty Landscape,  is an oil painting c. 1818  by the German Romantic artist Caspar David Friedrich. It has been considered one of the masterpieces of Romanticism and one of its most representative works. It currently resides in the Kunsthalle Hamburg in Hamburg, Germany.
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”. 
Friedrich suffered depressive episodes in 1799, 1803–1805, c.1813, in 1816 and between 1824 and 1826. There are noticeable thematic shifts in the works he produced during these episodes, which see the emergence of such motifs and symbols as vultures, owls, graveyards and ruins.  From 1826 these motifs became a permanent feature of his output, while his use of color became more dark and muted. Carus wrote in 1929 that Friedrich “is surrounded by a thick, gloomy cloud of spiritual uncertainty”, though the noted art historian and curator Hubertus Gassner disagrees with such notions, seeing in Friedrich’s work a positive and life-affirming subtext inspired by Freemasonry and religion. 
During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature. As the art historian William Vaughan has observed, however, “He can see himself as a man greatly changed. He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in 1819. He is old and stiff. he moves with a stoop”. 
Though critical discussed at ist first presentation on an exhibition вЂћMonk by the SeaвЂњ marks a change in landscape painting.
Whereas landscape was subordinated part in former painting it became a subject of the painting itself.
Furthermore not only naturalistic landscape painting but the reduced illustration of nature shall evoke contemplatorsВґ emotions.
With his works C.D. Friedrich influenced a lot of modern romanticists such Barnett Newman (1905 вЂ“ 1970) whose ambition was the experience of contemplation itself (cp. Vir heroicus sublimis, 1950).
Those symbols could be understood by everyone. But C.D. Friedrich wanted to develop his own and personal symbolism, and that is why a final interpretation of his paintings is not always possible.
Thus Spake Zarathustra, Nietzsche’s self-declared masterpiece, began in the Wanderer lineage, with the 30-year-old protagonist hiking into the wilds for a decade. Its prophetic exhortations emerge from a figure who has gazed far and wide, not from the stifling cloisters of academia or a stylite pillar in the desert, but from a mountaintop. Nietzsche conceived many of these ideas while on alpine walks, during summers spent at Sils Maria, Switzerland.
The moment Munch conceived The Scream was a moment of terror, yet it conveys to the viewer precisely what Friedrich had intended. In Munch’s own words: ‘I was walking along a path with two friends – the sun was setting – suddenly the sky turned blood red – I paused, feeling exhausted, and leaned on the fence – there was blood and tongues of fire above the blue-black fjord and the city – my friends walked on, and I stood there trembling with anxiety – and I sensed an infinite scream passing through nature.’
Featured image: Caspar David Friedrich – Chalk Cliffs at Ruegen, between circa 1818 and circa 1819. Oil on canvas. Height: 90.5 cm (35.6″); Width: 71 cm (27.9″). Collection Kunst Museum Winterthur
Featured image: Caspar David Friedrich – Wanderer Above the Sea of Fog, circa 1817, detail. Oil on canvas. Height: 98 cm (38.5″); Width: 74 cm (29.1″). Collection Kunsthalle Hamburg. All images via Creative Commons.