Alma Tadema's Oil Paintings
	Alma Tadema Museum 8 January 1836 – 25 June 1912. Most renowned painters.
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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

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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