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Robert Salmon Oil Painting Reproductions
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Robert Salmon Boston Harbor as seen from Constitution Wharf oil


Robert Salmon
Boston Harbor as seen from Constitution Wharf
Painting ID::  4409
Robert Salmon1.jpg 		Boston Harbor as seen from Constitution Wharf
1829
   
   
     
Robert Salmon The Boston Harbor from Constitution Wharf oil


Robert Salmon
The Boston Harbor from Constitution Wharf
Painting ID::  32011
new4/Robert Salmon-828246.jpg 		The Boston Harbor from Constitution Wharf
mk77 1833 Oil on canvas 26 3/4x40 3/4in
   
   
     
Robert Salmon Bild der Vergnugungsyacht Traum oil


Robert Salmon
Bild der Vergnugungsyacht Traum
Painting ID::  45344
new16/Robert Salmon-375875.jpg 		Bild der Vergnugungsyacht Traum
mk181 1839 Ol auf Holz 42x62.5cm
   
   
     
Robert Salmon Curious Rocks, Coast of Scotland oil


Robert Salmon
Curious Rocks, Coast of Scotland
Painting ID::  70999
new23/Robert Salmon-375644.jpg 		Curious Rocks, Coast of Scotland
ca. 1828(1828) Oil on panel 25.6 x 38.6 cm (10.08 x 15.2 in)
   
   
     
Robert Salmon Curious Rocks Coast of Scotland oil


Robert Salmon
Curious Rocks Coast of Scotland
Painting ID::  72112
new23/Robert Salmon-478975.jpg 		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
   
   
     
Robert Salmon Vista de Palermo oil


Robert Salmon
Vista de Palermo
Painting ID::  92057
new25/Robert Salmon-553678.jpg 		Vista de Palermo
1845(1845) Medium oil on canvas Dimensions 64.8 X 139.7 cm (25.5 X 55 in) cyf
   
   
     
Robert Salmon The First Mail Packet from Liverpool to Glasgow oil


Robert Salmon
The First Mail Packet from Liverpool to Glasgow
Painting ID::  94089
new26/Robert Salmon-586467.jpg 		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
   
   
     
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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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