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Here are all the paintings of Robert Salmon 01
| ID |
Painting |
Oil Pantings, Sorted from A to Z |
Painting Description |
| 45344 |
 |
Bild der Vergnugungsyacht Traum |
mk181
1839
Ol auf Holz
42x62.5cm
|
| 4409 |
 |
Boston Harbor as seen from Constitution Wharf |
1829 |
| 72112 |
 |
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 |
 |
Curious Rocks, Coast of Scotland |
ca. 1828(1828)
Oil on panel
25.6 x 38.6 cm (10.08 x 15.2 in)
|
| 32011 |
 |
The Boston Harbor from Constitution Wharf |
mk77
1833
Oil on canvas
26 3/4x40 3/4in
|
| 94089 |
 |
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 |
 |
Vista de Palermo |
1845(1845)
Medium oil on canvas
Dimensions 64.8 X 139.7 cm (25.5 X 55 in)
cyf |
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| 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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