Las óleos de todo Robert Salmon
ID Image  Painting (From A to Z)       Details 
45344  
Robert Salmon, Bild der Vergnugungsyacht Traum
  		 Bild der Vergnugungsyacht Traum   mk181 1839 Ol auf Holz 42x62.5cm
4409  
Robert Salmon, Boston Harbor as seen from Constitution Wharf
  		 Boston Harbor as seen from Constitution Wharf   1829
72112  
Robert Salmon, Curious Rocks Coast of Scotland
  		 Curious Rocks Coast of Scotland   Date ca. 1828(1828) Medium Oil on panel Dimensions 25.6 X 38.6 cm (10.08 X 15.2 in) cyf
70999  
Robert Salmon, Curious Rocks, Coast of Scotland
  		 Curious Rocks, Coast of Scotland   ca. 1828(1828) Oil on panel 25.6 x 38.6 cm (10.08 x 15.2 in)
32011  
Robert Salmon, The Boston Harbor from Constitution Wharf
  		 The Boston Harbor from Constitution Wharf   mk77 1833 Oil on canvas 26 3/4x40 3/4in
94089  
Robert Salmon, The First Mail Packet from Liverpool to Glasgow
  		 The First Mail Packet from Liverpool to Glasgow   1805(1805) Medium oil on canvas Dimensions 61.2 x 86.6 cm (24.1 x 34.1 in) cjr
92057  
Robert Salmon, Vista de Palermo
  		 Vista de Palermo   1845(1845) Medium oil on canvas Dimensions 64.8 X 139.7 cm (25.5 X 55 in) cyf
Robert Salmon
1775-1844 American painter of English origin. Having trained and painted in England and Scotland, he moved to Boston in 1828, painting in a 'little hut' near the wharves of South Boston. Reportedly an eccentric, he became a successful painter of marine views, adopting a range of different scales, including small wooden panels, larger canvases and theatre backdrops. Moonlight Coastal Scene (1836; St Louis, MO, A. Mus.) is typical of his works on panel, and it demonstrates his use of light to silhouette form. There are no extant examples of the panoramic views done as backdrops; his canvases such as Wharves of Boston (1829; Boston, MA, Old State House) and View of Charlestown (1833; Annapolis, MD, US Naval Acad. Mus.) are full of carefully delineated figures, minute and accurate details of the ships and their rigging, and, most importantly, large expanses of sky dominated by strong light. Salmon's portrayal of light-filled water and sky, increasingly luminous in the late 1830s and early 1840s, has caused him to be considered by some as the father of LUMINISM (i). He used a low viewpoint and contrasted a distant shoreline and small-scale figures in the foreground in a manner that prefigured the work of Fitz Hugh Lane and Martin Johnson Heade, both of whom were influenced by Salmon's manipulation of scale, light and subject-matter. It appears that he returned to England before his death.



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